msi 


•an, 


THE  CUBAN  SPY 


A  Comedy-Drama  in  Four  Acts 


BY 

Frank  Dumont 

!  | 

Author  of  « Little  Miss  Nobody/'   "A  Girl  of  the  Century," 
"The  New  Woman's  Husband/'  etc. 


Philadelphia 

The  Penn  Publishing:  Company 
J899 


COPYRIGHT  1898  BY  THE  PENN  PUBLISHING  COMPANY 


Bt 


psizm 


The  Cuban  Spy 


CAST  OF  CHARACTERS 

LITTLE  CUBA — "  ELINORA  "  .    .  Soubrette —  The  Cuban  Spy 

RICHARD  CARSON,  a  young  American  aiding 

the  patriots Juvenile  comedy 

RODERIGO  VALDEZ,  secretly  in  the  pay  of  the 

Spaniards Heavy 

'  •    LOPBjf  G°MEZ  }  officers  in  Valdez's  command,  Second  heavy 

PHELIM  McNAB Irishman — Irish  comedy 

CARL  WEISBEER Dutch  comedy 

JERRY Negro  comedy 

BRIDGET   MONAHAN,   who   is   looking  for 

Phelim  McNab Character 

SOPHIE,  a  waiting  maid Juvenile 

TIME  OF  REPRESENTATION,  Two  HOURS  AND  A  HALF. 


COSTUMES 


ELINORA.  Act  I. — Ragged  dress  as  a  stowaway;  white 
waist ;  hair  down ;  black  shoes ;  'kerchief  about  neck. 
Act  II. — Cuban  girl,  semi-Spanish  and  very  picturesque. 
Second  dress,  Spanish  costume,  veil ;  short  skirts ;  colored 
hose  and  slippers.  Act  III. — First  dress,  Sister  of  Red 
Cross  order,  black  gown,  white  cap.  S^MMIP^SgSBa^M^, 
jaunty  caprjacket  ajad  short-pdUllC  Similar  to  Spanish  bull 
fighter.  Act  IV. — Grand  evening  dress  costume ;  train 
dress  and  jewels. 

RICHARD  CARSON.  Semi-military  dress ;  change  in  re 
maining  acts  to  business  suit.  No  coat  or  vest  in  Act  III  as 
prisoner. 

VALDEZ.  Semi-sea-faring  costume  in  Act  I.  A  partially 
military  costume  of  Spanish  cut  for  the  remaining  acts, 
except  Act  IV,  where  all  characters  dress  for  evening  re 
ception. 

JASPER.  About  the  same  as  Valdez,  only  more  in  semi- 
bandit  uniform. 

PHELIM.  Extravagant  Irish  make-up,  to  change  during 
acts. 

CARL.  Made  up  stout,  funny  German  costume,  to  change 
slightly  during  progress  of  play.  In  last  act  more  genteel. 

JERRY.     Darkey  make-up  to  suit  taste  of  performer. 

LOPEZ.  A  Spanish  guerilla,  white  duck  jacket  and  pants  ; 
straw  hat;  military  accoutrements  in  all  the  acts  except 
Act  I,  wherein  he  is  partially  in  sailor  dress. 

BRIDGET.  Eccentric  Irish  woman's  costume,  to  change 
slightly  during  acts,  and  to  be  very  gorgeous  in  Act  IV. 

SOPHIE.  Waiting  maid's  costume  ;  short  skirts  ;  apron ; 
cap  ;  gaudy  waist ;  etc. 

4 


PROPERTIES 

ACT  I. — Good  size  cannon  on  a  truck  and  to  revolve  on 
a  pivot.  The  butt  end  of  cannon  is  open  to  allow  a  horse 
pistol  to  be  fired  through  it.  Box ;  coil  of  rope ;  frying- 
pan  ;  large  bundle  of  clothing  tied  so  it  can  be  thrown 
about;  handkerchief;  spyglass;  briar-wood  pipe;  rope  to 
bind  RICHARD  to  cannon;  broom;  small  American  flag; 
guns  and  pistols. 

ACT  II. — Table:  chairs;  bottles;  glasses;  matches; 
cigarettes  ;  small  vial ;  decanter  of  liquor  (sarsaparilla) ; 
lighted  candle  or  lamp ;  female  garments  for  PHELIM  and 
CARL  ;  pistol ;  torch  ;  red  fire  ;  lycopodium  flash  torch  for 
flames ;  rope  to  bind  RICHARD  ;  guns  for  CARL  and 
PHELIM. 

ACT  III. — Small  table  ;  stools  ;  lighted  candle  ;  several 
bags  of  straw ;  five  guns ;  several  boxes  ;  stool  ;  lot  of 
chains  for  prisoners ;  stuffed  stick ;  rope ;  revolvers  for 
ELINORA  ;  guns  for  PHELIM  and  CARL. 

ACT  IV. — Handsome  furniture  ;  curtains  for  centre  doors  ; 
carpet ;  document  for  ELINORA  ;  imitation  of  horse's  hoofs 
(cocoa-nuts  and  slab  of  marble) ;  handkerchief;  chalk  for 
PHELIM'S  face  ;  Cuban  flag  and  American  flag  for  ELINORA  , 
larger  Cuban  flag  for  Cubans;  loaded  revolvers;  swords, 
etc.,  for  battle  tableau  at  climax. 


SCENE  PLOT 
ACT  I 


HORIZON        DROP 


SCENE — Deck  of  vessel.  Horizontal  drop  at  back.  Cabin 
with  door  in  4th  G.  Mast,  c.  Cannon  on  Pivot,  R.  Bui' 
vvarks,  R.  and  L. 


ACT  II 


DOOR 


L 


o 


TABl-E 


o 


SCENE — Kitchen  or  plain  chamber  box  set  with  doors  R. 
and  L.     Door  in  flat.    Stairs   with  balustrade,    R.    U.    E. 
Table  and  chairs. 
6 


THE    CUBAN    SPY 

ACT  III 


OLD  LOG-HOUSE  OR  PRISON  FLATS 


SCENE — Interior  of  old  sugar-house  (boxed).  Stage 
divided  c.  Apartments  R.  and  L.,  with  door  in  dividing 
partition.  Grated  window  R.  in  flat,  three  or  four  feet  from 
stage.  Door,  L.  Table  and  old  bags  and  guns, 


ACT  IV 


INTERIOR  OR  GARDEN   BACKING 


'DOOR 


BAV  WINDOW 


FURNITURE    AD  LIB 


SCENE — Handsome  parlor  (boxed).  Door,  c.,  with  cur 
tains.  Bay  window  L.  flat.  Handsome  furniture  about 
room. 


THE  CUBAN  SPY 


ACT  I 
SCENE  i. — Deck  of  vessel     See  diagram  for  set. 

(Music.  At  rise  of  curtain  JERRY,  the  negro  cook,  dis 
covered  with  frying  pan,  R.  BRIDGET  MONAHAN  seated 
on  box,  L.,  or  coil  of  rope,  apparently  sea-sick.  JASPER 
and  a  few  sailors  at  rail,  R.) 

JERRY.  I  don't  care  what  you-all  think  about  it,  but  I 
say  that  this  vessel  is  haunted  all  right,  all  right.  You 
don't  catch  me  going  down  in  de  cellar  of  this  vessel  after 
potatoes  any  more.  I  tell  you,  there's  a  hoodoo  'round 
here ;  may  be  dat  Irish  woman,  for  all  I  knows. 

BRIDGET.  Look  here,  you  lump  of  African  bog,  don't 
mention  my  name  through  the  opening  of  your  face !  If  I 
was  healthy  enough  I'd  rise  up  and  throw  you  over  the 
fence  of  this  ship.  But  I'm. so  sea-sick  that  I  can't  stand 
on  my  feet,  and  it's  lucky  for  you  that  I  can't.  Go  on ! 
Don't  stand  there  grinning  at  me  like  a  big,  black  Tom-cat 
or  I'll  forget  I'm  sick  and  dance  on  your  neck  like  I  would 
at  Donnybrook  fair.  Get  out  of  my  sight,  you  nagur! 
(Grabs  at  bundle  beside  her  and  throws  it  at  JERRY.) 

JERRY.  Here,  hold  on ;  don't  insult  one  of  the  officers 
of  this  ship.  You're  nothing  but  an  ordinary  passenger, 
I'm  de  head  cook  and  superintendent  of  de  provision  de 
partment.  I'm  de  sutler,  commissary,  and  food  mixer.  If 
I  say,  "  You  don't  eat,"  you  don't  eat.  So  look  out,  Irish, 
or  I'll  drop  a  handful  of  shamrocks  in  your  soup  and  set 
you  crazy. 

JASPER,  (crosses  down)  Here,  stop  all  this  idle  talk.  The 
lady  is  a  passenger  and  you  are  the  cook  of  this  vessel. 

JERRY.  I  know  my  place  and  I  knows  her  place,  too. 
I  tell  you,  you're  all  "  Jonahed  "  and  hoodooed.  There's  a 
ghost  on  this  ship,  and  you  can't  deny  it. 

JASPER.  Very  well.  If  there  is  anything  wrong  we'll 
ferret  it  out.  Won't  we,  boys  ? 

SAILORS.    Yes.    Overboard  with  the  Jonah ! 

9 


10  THE    CUBAN    SPY 

JASPER.  Take  a  look  through  the  hold.  Be  careful  of 
lights,  as  we  have  plenty  of  powder  on  board.  Don't  for 
get  that. 

(Sailors  exit  cabin,  R.) 

JERRY.  Suppose  somebody  was  to  drop  a  cigarette  in 
dat  powder.  Phew!  wouldn't  we  go  up  like  sky-rockets. 
It  makes  me  almost  turn  pale  to  think  of  it.  I'm  black  in 
de  face,  but  I've  got  a  white  heart.  It's  a  brave  heart,  but 
I've  got  a  pair  of  cowardly  legs.  Once  I  get  on  dry  land 
you  don't  catch  this  nigger  on  water  again.  I  wish  I  could 
catch  dat  man  dat  wrote  "A  Life  on  de  Ocean  Wave."  I'd 
give  him  a  grave  in  de  ocean  wid  a  wave  of  my  razor. 

(Enters  cabin?) 

BRIDGET.  To  think  I'd  be  such  a  fool  for  love.  Ah, 
love !  you've  driven  me  almost  crazy,  and  to  make  me  fol 
low  a  man  over  land  and  water  this  way.  My  heart's  in 
my  mouth.  Ugh !  It  ain't  my  heart,  it's  something  I've 
swallowed.  (Buries  her  face  in  a  handkerchief,  rocks  and 
moans  ad  lib.) 

JASPER.  Should  the  sailors  find  any  one  whom  they  sus 
pect,  it  would  be  sure  death.  Ignorant,  superstitious  set, 
but  we  need  a  rough  crew  at  present.  The  Americans  are 
sending  arms  and  ammunition  to  the  Cuban  rebels.  We 
are  acting  as  a  blockade-runner,  taking  arms  to  Cubans,  but 
really  we  are  in  the  pay  of  the  Spanish  government.  It 
pays  better,  and  we  get  a  revenue  from  both  parties.  These 
infernal  Yankees  are  considered  smart,  but  we're  one  too 
many  for  them.  Spain  will  get  even  with  them  when  the 
time  comes. 

(PHELIM  McNAB  comes  from  cabin  very  sick,  L.) 
PHELIM.  I'm  doing  nothing  but  rolling  around  and 
creeping  around  on  my  hands  and  knees.  Sure  I  thought 
it  was  a  pleasant  ride  in  a  row-boat  from  Florida  to  Cuba! 
But  here  I  am  half  dead,  and  I  can't  keep  my  insides  from 
being  outsides.  (At  this  moment  he  sees  BRIDGET.  JASPER 
is  at  rail  with  glass  busy  scanning  the  horizon)  What  do  1 
see?  Bridget  Monahan,  and  on  this  vessel!  I'm  dead  and 
buried.  What  the  deuce  is  she  following  me  around  every 
where  for?  She  mustn't  see  me:  I'll  skip  away  from 
Master  Richard  if  we  reach  Cuba.  (Hides  behind  mast  as 
BRIDGET  looks  up.) 

BRIDGET.     Oh,  Phelim,  Phelim,  where  are  you  ? 
PHELIM.     I'm  where  you  won't  find  me.     I'll  jump  over 
board  before  you  can  grab  me. 


THE   CUBAN   SPY  II 

BRIDGET.  To  leave  me  this  way !  And  I'm  following 
you  all  over  just  for  love. 

PHELIM.  You're  not  the  only  oyster-shell  in  the 
basket!  (L.) 

(CARL  WEISBEER,  heard  in  cabin.) 

CARL.  Oh,  my !  Oh,  me  !  Stop  de  ship !  I  want  to 
climb  out  and  walk  home  !  (CARL  staggers  out  of  cabin,  and 
almost  falls  over  BRIDGET  as  he  goes,  L.) 

BRIDGET.  Can't  you  see  where  you're  going,  you  sau 
sage-headed  Dutchman ! 

PHELIM.  (behind  mast)  Ireland  and  Germany  will  have 
a  scrap  !  I'm  referee  ! 

BRIDGET.  Don't  stand  there  looking  at  me  !  Say  some 
thing,  if  you  have  anything  on  your  mind,  out  with  it — up 
with  it ! 

CARL.  Yes.  (staggers  to  rail — busi?iess  of  sea-sick)  It's 
off  my  mind ! 

PHELIM.  That  Dutchman  has  made  me  sick  !  (Staggers 
R.,  and  business  of  sick) 

BRIDGET.  Oh  !  There's  a  poor  man  over  there  who  feels 
bad — I'll  go  over  and  console  him.  (Goes  towards  PHELIM, 
and  as  she  talks  he  avoids  her,  turns  his  face  away,  and 
replies  only  in  monosyllables.  Are  you  very  ill,  my  poor 
man  ?  Sure  I  didn't  see  you  on  this  vessel  before.  Can  I 
do  anything  for  you  ?  I'm  always  sorry  for  the  sick,  so  I 
am  !  Let  me  see  your  face,  my  poor  man  !  (As  she  tries  to 
get  a  look  at  him  he  manages  to  back  away,  then  goes  around 
the  mast,  then  suddenly  staggers  sideways  into  cabin,  and 
disappears,  much  to  BRIDGET'S  surprise)  Sure  I  think  the 
man's  crazy  !  Well,  well,  once  I  lay  my  hands  on  Phelim 
McNab  he'll  never  get  away  from  me.  I  heard  he  was  in 
Cuba,  so  I  set  out  on  his  track.  I'm  suffering  a  good  bit  for 
him  (PHELIM  looks  out  of  cabin)  but  he'll  pay  for  it  all.  I'll 
make  him  suffer  twice  as  much  ! 

PHELIM.     You  will — nit !    (Disappears) 

BRIDGET.    Maybe  the  poor  Dutchman  needs  consolation  ! 

CARL.  No,  I  don't  need  constellation ;  I  want  a  consti 
tution.  I'll  get  some  of  dot  Irishman's  vitsky  (starts  for 
cabin.) 

BRIDGET.     Hold  on  there !    I  want  to  talk  to  you ! 

CARL.  I  ain't  got  no  time  !  Funny  how  womens  always 
bodder  a  man  when  he  don't  want  them  around.  (Darts 
into  cabin,  and  bumps  into  VALDEZ,  who  is  entering  from  it. 
CARL  falls  backward  and  rises.)  I  beg  your  puddings! 
(Enters  cabin.) 


12  THE   CUBAN    SPY 

BRIDGET.  Ah,  Captin  dear,  but  you're  a  fine  man  !  You 
run  into  that  lump  of  sourkrout  as  nate  as  a  gossoon  would 
thump  a  head  at  Donnybrook !  Say !  Captin  dear,  I'm  sick ! 

VALDEZ.    You  look  it. 

BRIDGET.  I  feel  it.  Say,  Captin,  have  you  a  private  bottle 
that's  good  for  indigestion  caused  by  -sea-sickness  ? 

VALDEZ.     No !    Your  place  is  in  the  cabin,  not  on  deck. 

BRIDGET.  Is  that  so  ?  I  wouldn't  have  known  it  :f  you 
hadn't  told  me.  Sure  you're  a  peacock  wid  your  gold-lace 
cap  and  spangles  on  your  clothes.  What  a  long  tail  our 
cat's  got !  Ah !  Ye  Spanish  cheroot,  you !  If  the  Ameri 
cans  and  the  Irish  ever  get  after  you  they'll  clip  the  feathers 
off  of  ye  mighty  quick. 

VALDEZ.    Ah !     Bah ! 

BRIDGET.  Don't  say  bah  to  me.  I'm  not  a  sheep.  I'm 
a  little  Irish  lamb,  and  you'll  not  put  any  mint  sauce  on  me, 
either.  That  for  you  and  old  Spain!  (Snaps  her  finger?) 
I'd  like  to  see  old  Weyley  put  me  in  jail.  I'd  have  the 
whole  of  Ireland  over  here  in  a  week. 

VALDEZ.     Hold  your  tongue ! 

BRIDGET.  I  can't.  It's  too  slippery.  And  you'll  not  hold 
it  for  me,  either.  I'll  have  the  last  word.  I'm  a  woman,  and 
I  never  let  a  man  have  the  last  word.  I'll — I'll — I'd  talk  to 
you  some  more,  but  I'm  sick.  (Business  with  handkerchief, 
and  staggers  into  cabin  t l tying  to  talk  to  VALDEZ.)  I'll  see 
you  when  I  can  talk. 

VALDEZ.  I  must  abandon  this  life.  It  is  growing  dan 
gerous.  I  can  remain  in  Havana  without  risk.  The  papers 
will  secure  a  vast  estate,  and  none  can  point  to  me  as  the 
criminal.  Don  Alvarez  trusted  me  in  all  things,  and  even 
in  his  will  made  me  his  heir  in  case  his  only  child  should 
die.  In  an  evil  moment  I  removed  him  and  placed  the  little 
girl  upon  a  vessel  sailing  for  an  American  port.  It  was  not 
my  first  crime  as  the  cursed  brand  of  the  felon  was  seared 
in  my  flesh. 

(Enter  JASPER  from  cabin?) 

JASPER.  Captain  (salutes},  I  have  observed  the  American 
closely,  as  you  have  ordered  me.  I  believe  he  is  a  spy,  and 
if  so,  will  stand  in  our  way  if  we  attempt  to  run  this  cargo 
into  the  hands  of  the  Spanish  authorities. 

VALDEZ.  Well,  he  is  but  one  American  among  us  all  J 
You  know  what  to  do  if  he  becomes  two  inquisitive.  He 
is  but  a  pas'senger,  same  as  the  others — but  we  didn't  prom 
ise  to  land  them  anywhere,  did  we  ? 

JASPER.    No,  I  understand!     They  are  on  board,  but  not 


THE    CUBAN    SPY  13 

landed  yet!  Mr.  Richard  Carson  had  best  keep  a  quiet 
tongue  in  his  head — or — 

VALDEZ.  Or — you'll  keep  it  quiet  for  him.  That's  the 
idea!  I'll  stroll  into  the  cabin  and  observe  him  myself. 
{Enters  cabin.} 

JASPER.  These  passengers  imagine  that  they  own  this 
vessel,  but  they'll  have  a  rude  awakening  before  long. 
(Noise  heard  in  cabin  ;  music,  R.) 

//{ELINOR  A  rushes  from  cabin,  pursued  by  sailors ;  she  eludes 
them  and  crosses  to  R.  c.,  sailors  L.) 

LOPEZ.  A  stowaway  !  We  found  her  concealed  in  the 
hold. 

JASPER.     Let  her  be  secured!    (Sailors  rush  towards  her. 
She  runs  towards  cabin  and  into  the  arms  of  RICHARD  CAR 
SON,  who  enters  from  it.     Sailors  start  back.     Pictured) 
/-ELINORA.     Save  me,  or  they  will  kill  me  ! 

RICHARD.  What  does  this  mean?  Why  do  you  attack 
a  defenceless  girl  ? 

JASPER.  She  is  a  stowaway,  and  she  can't  remain  on  this 
vessel. 

SAILORS.     Over  with  the  Jonah  ! 

/X^LINORA.  Don't  let  them  kill  me,  sir.  I  will  leave  the 
vessel  if  they  will  but  set  me  adrift  upon  a  spar !  Will  you 
protect  me  ? 

RICHARD.  With  my  life  !  He  who  attempts  to  harm  you 
will  answer  to  me  !  You  are  under  my  protection  ! 

JASPER.     Down  with  the  American  if  he  interferes. 

RICHARD.  Advance,  cowards,  advance  !  but  the  first  who 
approaches  will  lie  upon  this  deck.  I  am  an  American,  and 
I  protect  a  female  in  distress  wherever  I  find  her ! 

JASPER.  I  warn  you  not  to  interfere  with  me  or  this 
crew  if  you  value  your  life.  * 

J/EHNORA.  Do  not  make  enemies  of  them  on  my  ac 
count.  Leave  me  to  them.  You  must  not  sacrifice  your 
life  for  mine. 

RICHARD.  I  have  faced  death  too  often  to  allow  these 
curs  to  frighten  me.  They  may  intimidate  a  woman,  but  a 
man  is  not  afraid  of  such  dogs. 

JASPER.     Surrender ! " "  We  are  all  against  one. 

PHELIM.  (enters  from  cabin)  That's  a  lie !  You're  all 
against  two.  I'm  in  this  fight  with  you,  Master  Richard. 
We're  two  against  the  lot  of  'em. 

CARL,  (comes  from  cabin}  Make  it  three.  I  fights  mit 
you  against  dat  gang  of  snoozers. 


14  THE   CUBAN    SPY 

JASPER.  Down  with  them !  No  quarter !  Make  quick 
work  of  it ! 

(Music. — JASPER  and  Sailors  attack  RICHARD,  who  fells 
JASPER  to  the  deck.  CARL  knocks  down  a  sailor,  and 
PHELIM  levels  a  briar-wood  pipe  at  them.  Sailors  fall 
back.) 

PHELIM.  Be  gob,  but  they're  afraid  of  a  briar- wood 
pipe  (laughs). 

(Enter  VALDEZ  from  cabin} 

VALDEZ.     What  is  the  meaning  of  this  tumult  ? 

JASPER,  (who  has  risen}  We  found  a  stowaway,  and  that 
American  busybody  interfered  with  us.  He  struck  me,  but 
his  life  will  pay  for  the  blow. 

CARL.  Ah !  blow  all  you  want  to-  You're  a  blower 
from  Blowersville. 

PHELIM.  A  fine  lot  of  sailors  1  Try  to  murder  a  woman 
and  then  let  me  bluff  them  with  a  pipe.  Dutchy,  we're  the 
boys  to  make  them  dance  to  our  music,  ain't  we  ? 

CARL.  If  I  play  de  "  Wacht  am  Rhine  "  I'll  make  'em  do 
de  "  hitchy  kitchy,"  I  bet  you. 

VALDEZ.  (to  Jasper)  Leave  all  to  me.  I'll  give  you  a 
chance  to  retaliate  in  a  short  time.  (Aloud)  Jasper,  no 
more  of  this  unseemly  conduct.  Take  the  men  forward. 

JASPER.     All  right,  Captain. 

(JASPER  and  Sailors  exit,  R.  i  E.) 

PHELIM.  German  regiment,  attention  !  Fall  in  !  By  the 
right  flank !  By  platoons  !  Form  a  hollow  square  !  In  a 
double  line!  Forward — march! 

(Putting  CARL  into  short  drill,  they  exit  into  cabin,  imitating 
a  drum,  one  singing  "  Yankee  Doodle -.") 

VALDEZ.  (to  RICHARD)  This  is  a  stowaway  and  sailors  as 
a  rule  treat  them  in  a  rough  manner.  I  will  look  into  the 
matter  and  have  my  men  apologize  to  you  (aside)  and  a 
solid  apology  rest  assured.  (Enters  cabin.) 

ELINORA.  Senor,  how  can  I  ever  repay  you  for  risking 
your  life  to  save  mine  ? 

RICHARD.  Do  not  speak  of  the  matter.  Danger  is  past 
and  you  are  safe.  I  have  simply  performed  my  duty  as  a 
man. 

^    ELINORA.   Your  face  and  noble  action  will  be  engraven 
upon  my  heart. 


THE    CUBAN    SPY  1 5 

RICHARD.     What  is  your  name  ? 

J/ELINORA.  I  am  called  Little  Cuba.  You  are  an  Amer 
ican,  and  all  Americans  are  friends  of  the  poor  struggling 
patriots  of  Cuba.  I  can  therefore  trust  you.  With  the  aid 
and  friendship  of  Americans  Cuba  will  be  free — free  as 
you  are  yourselves.  You  may  surmise  that  I  am  a  spy,  and 
so  I  am.  This  vessel,  though  a  blockade  runner  and  ap 
parently  taking  arms  and  ammunition  to  the  patriots,  is  in 
reality  in  the  hands  of  a  Spanish  villain  who  will  allow  the 
Spaniards  to  take  this  vessel  and  cargo  if  he  can.  The 
Captain,  while  pretending  friendship  for  the  Cubans,  is 
really  their  worst  foe.  He  is  a  villain! 

RICHARD.  So  I  have  judged  him.  We  came  aboard  as 
passengers  to  Havana  from  Key  West,  and  I  have  seen 
enough  of  him  to  suspect  that  his  crew  of  ruffians  would 
not  hesitate  at  murder.  But  tell  me,  do  they  suspect  you  ? 
/^ELINOR A.  I  think  not,  merely  taking  me  for  a  stow 
away  or  Jonah.  I  am  known  as  Elinora  to  all  save  you. 
I  wish  to  reach  Havana  for  a  certain  purpose,  and  to  be  of 
service  to  Cuba.  I  hope  to  aid  the  brave  men  who  will 
avenge  Maceo's  death. 

RICHARD.  Aye,  and  to  pay  back  the  cowardly  curs  who 
basely  murdered  him.  A  million  Americans  will  spring  to 
arms  if  haughty  Spain  but  dares  to  offer  another  insult  to 
our  flag. 

;  ELINORA.  Bravely  said,  and  I  know  you  mean  every 
'word  of  it.  The  story  of  my  life  is  a  sad  one,  and  would 
weary  you  to  relate  it.  I  will  merely  say  that  my  father  was 
murdered  by  a  false  friend,  and  I,  a  little  child,  was  sent 
away  in  the  care  of  hired  villains.  I  managed  to  escape, 
and  in  after  years  to  return  to  Cuba,  only  to  find  the  villain 
in  full  possession  of  my  father's  estates ;  but  he  had  de 
parted  for  Spain,  and  I  could  prove  no  claim  ;  I  am  on  the 
trail  of  that  villain,  and  I  feel  that  some  day  I  will  meet  him 
face  to  face.  (Crosses  to  L.) 

RICHARD.  Did  you  ever  see  him,  or  note  anything 
peculiar  whereby  you  might  identify  him  ? 

(VALDEZ  appears  at  cabin  door  and  listens.'} 
ELINORA.     On  that  fatal  night  I  heard  my  father's  cry 
for  help,  and  rushed  to  his  assistance.     I  seized  the  assassin 
by  the  arm,  and  as  he  threw  me  aside  I  saw  by  a  flash  of 
lightning  that  gleamed  through  the  window,  deeply  im 
printed  on  the  man's  hand  a  letter — the  letter  A ! 
(VALDEZ  starts — looks  at  palm  of  his    hand,    and  goes 
behind  mast.) 


1 6  THE   tUBAN    SPY 

RICHARD.  That  is  a  clue.  It  was  the  custom  years  ago 
in  the  Spanish  settlements  to  burn  a  letter  upon  a  criminal's 
arm,  hand,  or  shoulder. 

VALDEZ.  Tis  his  child — but  I  am  safe  if  I  can  keep  this 
accursed  mark  hidden.  (Enters  cabin.} 

"ELINORA.  That  is  my  only  clue,  and  a  small  voice  within 
my  heart  that  bids  me  hope — watch  and  wait. 

RICHARD.     We  must  leave  this  vessel  before  she  reaches 
the  island  of  Cuba !     Perhaps  we  may  secure  one  of  the 
boats,  and  thus  make  our  escape. 
I/.ELINORA.     The  Captain  interfered  merely  to  blind  you! 

(Music— VALDEZ,  JASPER  and  sailors  come  from  cabin.'} 

VALDEZ.  There  is  the  stowaway.  She  is  a  spy,  and  you 
may  do  with  her  as  you  like. 

JASPER.     Cast  her  overboard ! 

SAILORS.     Yes— throw  her  overboard ! 

RICHARD.     Would  you  murder  a  defenceless  woman  ? 

VALDEZ.  I  am  the  captain  of  this  vessel,  and  will  do  as 
I  please. 

RICHARD.  But  you  won't  do  as  you  please  with  this 
poor  girl  now  under  my  protection.  Remember  I  am  a 
passenger,  and  claim  my  rights  as  such. 

VALDEZ.  I'll  hang  you  from  the  yard-arm  for  interfering 
with  me  and  my  orders. 

RICHARD.     Where  is  Phelim  ? 

VALDEZ.  (laughs)  Your  German  and  Irish  friends  are 
secured  below. 

BRIDGET,  (at  cabin)  If  there's  any  one  locked  up  below, 
sure  I'll  unlock  'em  again.  (Disappears) 

VALDEZ.  Now,  my  fine  American,  you're  left  to  yourself, 
and  I  leave  you  to  the  tender  mercies  of  my  crew. 

RICHARD.  You  are  a  pirate,  a  villain !  Entrusted  with 
this  cargo  for  the  Cubans,  you  intend  to  betray  them. 

VALDEZ.  I'll  make  sure  you  won't  tell  any  one  about  it. 
Seise  him  !  (Sailors  seize  RICHARD.) 

RICHARD.     You  treacherous  dog ! 

VALDEZ.  I'd  send  a  bullet  through  your  brain,  but  I've 
reserved  you  for  something  else.  I'll  try  your  nerve ;  I'll 
try  your  American  courage  ;  your  pluck,  if  you  have  any. 
Do  you  see  that  cannon  ?  Bind  him  to  its  muzzle.  (RICH 
ARD  is  bound  by  rope,  facing  the  cannon,  the  muzzle  to  his 
breast?) 

y"f  ELINORA.  Surely  you  would  not  doom  him  to  such  a 
horrible  fate.  Spare  him  !  Take  my  life  if  you  will,  but  be 
merciful  to  him.  (Kneels  to  VALDEZ.) 


THE   CUBAN   SPY  17 

RICHARD.  Do  not  kneel  to  that  villain.  Arise  !  I  am 
an  American,  and  I  can  die  in  the  defence  of  the  down 
trodden  and  for  a  woman,  alone  and  unprotected.  An 
American  defies  the  cowardly  Spanish  dogs  who  yelp  and 
bark  at  my  heels. 

VALDEZ.  Seize  this  girl!  (  Two  sailors  seize  ELINORA.) 
Lopez,  to  your  post! 

LOPEZ.  Aye,  aye,  Captain  !   (Stands  ready  to  fire  cannon^) 

(ELINORA  suddenly  breaks  from  sailors,  snatching  a  revolver 
from  the  belt  of  one,  and  levels  it  at  VALDEZ.     Pictured) 


LI  NOR  A.   Speak  the  word  to  fire  that  gun  and  you  are  a 
dead  man  ! 

PHELIM  and  CARL  come  from  cabin,  armed.  Sailors  strike 
up  ELINOR  A'S  hand.  General  fight  takes  place.  PHELIM 
attacks  LOPEZ,  CARL  attacks  JASPER.  BRIDGET  runs  on 
from  cabin  with  a  broom  and  attacks  sailors.  LOPEZ  sud 
denly  fights  his  way  to  the  cannon.  ELIXORA  quickly  re 
leases  RICHARD  from  camion.  Soon  as  RICHARD  is  out  of 
the  way  the  cannon  is  fired  at  VALDEZ'S  command.  PHELIM 
waving  small  American  flag,  and  on  this  quick  picture 

CURTAIN 


ACT  II 

SCENE. — Interior  of  old  inn,  Matanzas.  See  scene  plot. 
Music.  LOPEZ,  as  landlord  of  inn,  discovered.  Several 
men  are  seated  at  table,  R.  c. 

LOPEZ.  The  Captain  will  pay  a  good  price  if  we  succeed. 
The  American  carries  a  quantity  of  money,  and  besides,  he 
is  not  wanted  in  Cuba. 

(Enter  JASPER,  disguised,  door  flat '.) 

JASPER.  Be  careful !  The  American  will  soon  be  here. 
Remember !  You  are  all  patriots  now.  You  were  never  on 
board  of  the  blockade  runner,  and  above  all,  do  not  let  him 
see  through  our  present  disguise.  Hark  !  Some  one  ap 
proaches. 

(Enter  BRIDGET,  door  F.) 

BRIDGET.-  What  a  murdering  country  and  what  a  lot  of 
homely  men !  Nose  on  'em  like  badgers  and  whiskers  like 
a  baboon  !  Sure,  if  you  were  in  Ireland  and  St.  Patrick  was 
alive  he'd  drive  yees  all  into  the  sea  for  snakes  and  toads. 
Talk  up,  some  one  of  yees,  for  I'm  in  the  humor  for  a  fight. 

LOPEZ.     My  dear  madam,  what  do  you  want? 

BRIDGET.     Is  this  a  hotel  or  is  it  a  museum  ? 

LOPEZ.     It  is  a  hotel. 

BRIDGET.  Well,  I'm  glad  I  know  what  it  is.  Ton  my 
word  I  never  saw  such  an  ugly  lot  of  men  in  all  my  life  ! 
But  ye  can't  help  it !  (To  one  of  the  men}  Does  your  face 
hurt  you  ?  Why  don't  you  try  to  wear  it  upside  down  ? 
Oh  !  my  !  What  a  face  to  stamp  butter  ?  And  there's  a 
man  so  cross-eyed  that  he  can  look  into  his  own  ear  !  Well, 
if  this  is  a  hotel,  show  me  the  best  room  you  have  in  the 
house. 

LOPEZ.  This  way,  madam.  We  will  do  our  best  to 
make  you  comfortable.  (Bows  her  out,  R.  i  E.) 

BRIDGET.  Oh  !  what  a  homely  lot  of  men  !  They  have 
scrubbing-brushes  for  whiskers !  Oh,  my !  Oh,  my !  I 
hope  I  won't  dream  about  them  !  (Exit,  R.  i  E.) 

JASPER.     That  gabbling  woman  may  be  in  our  way.     I 
wish  Lopez  had  sense  enough  to  refuse  her  accommoda 
tions.    Still,  we  can  easily  rid  ourselves  of  such  people,  if 
needs  be. 
18 


THE    CUBAN    SPY  19 

{Enter  RICHARD  and  PHELIM,  door,  F.) 

RICHARD.     Good  evening,  gentlemen  ! 
JASPER.     Good  evening ! 

(PHELIM,  startled  by  the  voice,  comes  down  and  circles  about 
JASPER,  as  if  to  trace  a  resemblance,  etc) 

PHELIM.  I  thought  I  remembered  that  voice.  It  be 
longed  to  as  big  a  blackguard  and  cut-throat  as  ever  trod 
the  earth  or  sailed  on  a  ship — a  blockade  runner,  maybe  ! 

JASPER.     Your  comparison  is  not  an  agreeable  one,  sir. 

PHELIM.  And  the  man  I  mean  wasn't  agreeable,  either. 
But  no  matter.  I  suppose  all  Spaniards  look  alike  ! 

JASPER.     What  do  you  mean  ? 

PHELIM.     They're  mean  enough  for  anything. 

(LOPEZ  enters  R.  i  E.,  passes  by  PHELIM,  who  gazes  at  him 
intently?) 

LOPEZ.  Welcome,  gentlemen !  Make  yourselves  at 
home. 

PHELIM.  We'll  do  that,  my  bucko,  whether  you  want  us 
to  or  not.  Sit  down,  Master  Richard,  when  in  Rome  do  as 
the  Roman  candles  do — when  in  Cuba  do  as  the  Cubanians 
do — and  we'll  do  anybody  that  tries  to  do  us.  {Sits  down 
and  puts  his  feet  on  the  tabled) 

JASPER,  (to  RICHARD)  I  am  always  glad  to  meet  Ameri 
cans.  They  sympathize  with  us  and  aid  us  at  every  chance. 

RICHARD.  We  never  refuse  to  extend  a  helping  hand  to 
the  cause  of  liberty.  Our  Republic  is  made  up  of  men  who 
sought  our  shores  to  escape  oppression,  and  once  they 
breathe  the  air  of  freedom  they  are  anxious  that  all  other 
lands  may  be  as  free !  I  know  not  if  you  are  a  Cuban  or  a 
Spaniard,  but  I  will  say  this  to  you,  my  heart  is  with  the 
struggling  Cubans,  and  I  am  ready  to  aid  them  in  their 
battle  against  cruel  oppression.  Every  liberty-loving  man 
in  the  United  States  thinks  as  I  do. 

PHELIM.  And  in  Ireland,  too  !  We're  not  free  ourselves, 
but  we'll  get  there !  Here's  to  the  American  eagle  and 
Yankee  Doodle  that  will  make  that  yaller-faced  Weyler 
"  walk  Spanish  "  if  he  tries  a  bluff  on  us,  now. 

JASPER.  I'm  glad  to  meet  you  both  ;  we  need  aid  and  the 
services  of  brave  men.  We  are  all  patriots  and  we're 
friends  of  the  cause. 

RICHARD.  I  am  pleased  to  meet  you !  There  is  such  a 
thing  as  pretending  to  be  friendly  to  Cuba  and  betraying 
those  who  risk  their  lives  in  her  cause. 


2O  THE    CUBAN    SPY 

JASPER.  That  is  very  true,  we  live  in  troublous  times. 
(  Whistle  heard)  Here  conies  one  who  has  been  outlawed 
for  his  devotion  to  Cuba,  Sefior  Rial.  (Enter  VALDEZ,  L.  i 
E.  He  is  thoroughly  disguised.}  Senor  Rial,  I  wish  you  to 
meet  this  brave  American  —  he  is  one  of  us  in  heart  and 
intentions. 

VALDEZ.  Sefior  American,  I  am  proud  to  meet  you  ' 
(Shakes  hands.} 

PHELIM.  And  I'm  Phelim  McNab!  You're  Sefior  Rial, 
and  I'm  the  "rale"  thing!  I  think  that  1  have  met  you 
before. 

VALDEZ.  That  is  hardly  possible.  I  am  a  native  of  this 
isle  and  have  never  visited  your  country  ! 

PHELIM.  You  may  not  have  been  in  Ireland  but  I  think 
you've  been  on  the  water  ! 

VALDEZ.  (laughs}   I  am  not  a  sailor. 

PHELIM.  But  you  might  be  a  cruiser,  a  blockade  runner, 
or  a  sort  of  a  pirate. 

VALDEZ.     Sir  !  I  will  not  brook  an  insult. 

PHELIM.  Keep  your  shirt  on  !  I  said  you  looked  it.  If 
the  cap  fits  you  you  can  wear  it. 

RICHARD.  Phelim,  the  subject  is  not  a  pleasant  one  to 
Sefior  Rial. 

PHELIM.  Maybe  it's  too  "  real  "  for  him.  Well,  I've 
spoke  my  mind  and  that's  all  there  is  about  it.  It's  not  my 
fault  if  he  looks  like  a  black-muzzled  pirate  or  a  rapscallion, 
is  it  ?  Sit  down  "  Real  "  and  put  a  piece  of  ice  on  your 
cocoa-nut  to  keep  your  brains  cool. 

VALDEZ.  (to  RICHARD)  I  will  not  notice  your  eccentric 
friend.  1  do  not  understand  his  style  of  joking. 

PHELIM.     You'll  see  the  joke  later  on. 

(Enter  ELINORA  disguised  as  a  Cuban  girl.     She  comes  over 
to  table,  is  surprised  to  see  RICHARD.) 

VALDEZ.  Come,  Lopez  !  Bring  us  some  of  your  choice 
wine,  mind  you,  none  of  your  cheap  red  vinegar  —  but  the 
real  juice  of  grapes. 

(ELINORA  starts  at  the  voice,  but  lights  a  cigarette  by  scratch- 
-ttpmelkeJui^^  LOPEZ 


exits.} 

PHELIM.  -Hold  on  there  !  What  do  you  take  my  skull 
for?  A  bit  of  sandpmper^r-  trre  side  of  a  match-box? 

ELINORA.  Sefior  will  please  excuse  me,  I  am  very  near 
sighted. 


THE   CUBAN    SPY  21 

he's  thaUiear*s1flTted  she  didn't 

me.     Well,  I   accept  your  apology, 


returns  with  bottle  of  wine  and  glasses.  Places  it  on 
table.  Pours  out  wine.  VALDEZ  unobserved  pours  con 
tents  of  small  vial  into  RICHARD'S  glass.  ELINORA  sees 
the  action.) 

VALDEZ.     Here  is  to  our  cause,  and  may  it  prove  suc 
cessful  !     {As  RICHARD  is  about  to  drink  ELINORA  spills  his 
wine,  then  pretends  it  was  an  accident.) 
K  ELINORA.     Oh  !  excuse  me.     I  am  so  near-sighted. 

VALDEZ.  (aside)  Confounded  meddler!  (Rises  and  goes 
to  ELINORA.)  Who  are  you  ? 

RA.     I  am  myself,  who  are  you  ? 
VALDEZ.     Answer;  where  did  you  come  from  ? 

RA.     Outside. 

VALDEZ.     How  did  you  get  in  here  ? 
Is  ELINORA.     Through   the   door.     I   couldn't  drop  down 
through  the  chimney,  could  I  ?    {Blows  smoke  into  VALDEZ'S 
face.) 

VALDEZ.  None  of  your  insolence  !  What  do  you  want 
here  ? 

;/ ELINORA.     Nothing.     Have  you  got  it? 
VALDEZ.     I'll  wring  your  neck  for  you. 
i    ELINORA.     No,  you  won't.     I  don't  care  that  for  you! 
{Snaps  finger  at  him.)     I'm  not  afraid  of  you. 

VALDEZ.     A  still  tongue  makes  a  wise  head ! 
^ELINORA.     Then  you'll  never  be  wise.      You  talk  too 
much ! 

VALDEZ.  What  was  your  object  in  striking  that  gentle 
man's  wine  glass  ? 

I.  '  ELINORA.  Merely  an  accident,  I  assure  you.  It  was  fit 
to  drink,  wasn't  it?  You  wouldn't  do  anything  crooked, 
would  you  ? 

VALDEZ.     I'd  like  to  know  who  and  what  you  are ! 
jX"  ELINOR  A.     You'd  like  to  know  who  and  what  I  am.     I 
am  a  Cuban.    So  are  you,  ain't  you  ?    We  are  both  fighting 
for  a  cause.   Mine  is  a  good  one.    I  don't  know  about  yours.       . 
Are  you  with  us  heart  and  soul  ?     {Crosses  to  table.) 

JASPER,  {coming  to  them).  Have  no  words!  Just  cut  her 
throat. 

VALDEZ.  (to  JASPER)  No,  I'll  have  no  words  with  her.  The 
American  is  growing  uneasy.  Let  the  girl  go.  I'll  fix  her 
after  we  get  rid  of  the  American. 


22  THE    CUBAN    SPY 

JASPER,  If  you'll  let  me  attend  to  him  I'll  warrant  he  won't 
be  so  impudent  and  bold. 

VALDEZ.  (to  ELINORA)  Some  people  might  be  offended  at 
your  silly  remarks,  but  we  are  too  sensible,  and  we  don't 
notice  it.  Will  you  take  a  hand  in  the  game  we  are  about 
to  play  ? 

$  (?    //  ELINORA.    Not  now.    I  will  take  a  hand  in  the  game  you 
are  going  to  play  by  and  by. 

VALDEZ.     I  don't  quite  catch  your  meaning. 
#  y     ^ELINORA.     I  dare  say  you  don't.     However,  we  won't 
quarrel.     Go  and  sit  down.     I'll  make  one  of  your  merry 
party. 

«£  $  I/  VALDEZ.  (to  LOPEZ)  Lopez,  we  will  adjourn  to  your  pri 
vate  room.  Every  idiot  has  a  right  to  this  public  apartment, 
it  seems. 

y  ELINORA.  Make  yourself  at  home,  Mr.  Idiot.  Don't  worry 
on  my  account.  ( Goes  up  stage.) 

LOPEZ.    You  can  retire  to  my  room,  seiiors. 

PHELIM.  This  room  is  all  right,  and  as  for  the  kid  yonder, 
she  has  a  right  to  be  in  here.  This  is  a  public  inn. 

VALDEZ.  You  don't  know  whom  to  trust  these  times.  Re 
member,  the  government  has  spies  in  all  directions.  I  am 
not  risking  my  head  if  you  are. 

PHELIM.  I  am  an  American  citizen,  and  until  I  do  some 
thing  over  here  I  defy  Weyler,  Spain,  and  the  whole  kitten 
crew  of  blackguards  to  lay  a  finger  on  me  !  That's  what ! 

RICHARD.  Seiior  Rial,  if  you  choose  to  adjourn  to 
another  room,  I  am  agreeable. 

VALDEZ.     I  suggest  this  merely  in  the  interest  of  safety. 

RICHARD.     Lead  on,  sir  ! 

( They  arise  and  start  to  exit  R.  2  E.  ELINORA  makes  signals 
to  RICHARD  to  attract  his  attention,  bid  he  fails  to  note 
them.)  PHELIM,  who  is  going  out  last,  sees  the  motions, 
and  imitates  them  in  a  grotesqiie  manner. ) 

PHELIM.  She  thinks  I  belong  to  her  lodge!  She's  giving 
me  the  grip  and  the  password.  "  Erin  go  Bragh  !" — "  E 
Pluribus  Onions  !"  "  Cad  Millia  Failthey  !"  Ta-laa-loo-loo! 
(Makes  frantic  and  eccentric  signals,  and  exits  triumphant, 

R.  2  E.) 

>  ELINORA.  He  failed  to  note  my  signal  of  warning.  He 
is  lost  if  he  remains  here — what  can  I  do  ?  Return  here  as 
soon  as  possible,  but  not  in  this  attire,  for  I  believe  the 
villain  has  partially  penetrated  this  disguise.  The  maid 


THE    CUBAN    SPY  23 

engaged  in  this  inn  is  in  my  pay  ;  to  her  I  will  appeal  for 
immediate  aid.  Come  what  may,  the  American  must  be 
saved ! 

(£;i/erCARL  at  back.} 

CARL.  Hello,  you  !  Come  here,  I  want  to  say  something 
to  you  !  Did  you  see  two  gentlemen  fellers  around  here — 
one  is  a  'merican,  the  other  a  Micky  Irishwoman  ? 
//ELINORA.  I  have  no  time,  sir,  to  answer  your  questions. 
Seek  the  landlord  in  that  room  (points  R.  2  E.)  You  will 
excuse  me,  I  am  in  a  great  hurry.  (Exits,  L.  i  E.) 

CARL,  (imitates voice}  Excuse  me  !  I'm  in  a  great  hurry! 
Well,  that  lady  isn't  a  bit  obliging.  Excuse  me,  I'm  in  a 
hurry !  Get  out,  you  Spanish  cheroot !  You  ain't  got  any 
more  sense  than  I've  got.  (BRIDGET  descends  steps.) 

BRIDGET.  Ah,  ha !  There  you  are!  (Grabs  CARL.) 
Now,  my  bucko,  I  have  a  hold  on  you  !  Where's  that  deceiv 
ing  Irish  friend  of  yours  ? 

CARL.  Cross  my  suspenders,  I  don't  know  where  he  is 
I'm  looking  for  him,  I  tell  you  !  You  tell  me  where  he  is, 
and  I'll  tell  you  !  What  have  I  got  to  do  with  your  troubles  ? 
Find  him  if  you  want  him,  but  I  ain't  got  nothing  to  do 
with  your  foolishness. 

BRIDGET.  Foolishness,  is  it  ?  You'll  find  that  I'm  not 
fooling.  He  promised  to  marry  me,  and  borrowed  five 
dollars  from  me  to  buy  the  ring,  and  he  lit  out ! 

CARL,  (laughs)   He  gave  you  de  slip,  did  he? 

BRIDGET,  (hits  him)  What  are  you  laughing  at,  you 
Dutch  herring!  I'll  give  you  a  smack  that  will  knock  you 
clean  back  to  Germany  like  a  sky-rocket ! 

CARL.  My  dear  woman,  I  don't  blame  you  for  trying  to 
find  your  mash,  but  don't  soak  me  in  the  jaw  like  that. 

BRIDGET.  Well,  I'll  find  him,  so  I  will !  And  you'll  go 
with  me  ! 

CARL.     I'll  go  with  you,  "  nit." 

BRIDGET.  You'll  go  with  me  nit  is  it  ?  (Slaps  him)  Nit; 
is  it? 

CARL.  I'll  go  with  you  nit,  yes — I  said  mit  you,  not  nit 
you  !  "  Nit  "  means  yes  in  German. 

BRIDGET,  (crosses  to  L.)  I'll  just  keep  my  fins  on  you  for 
safe  keeping.  Come  right  along,  Mr.  Smearcase ;  Ireland's 
got  a  hold  of  you  now,  and  it's  home  rule  or  nothing. 

CARL.  This  is  tough  on  Germany!  What's  this  world  a 
coining  to,  when  a  woman  can  kidnap  a  man  dis  way  and 
de  poor  sucker  can't  help  himself!  (Business.  She  leads  him 
out  L.  i  E.  He  is  protesting  in  vain) 


24  THE    CUBAN    SPY 

(Enter  ELINORA,  richly  attired  in  Spanish  female  costume^ 
door  in  flat?) 

„  /^ELINORA.  Perhaps  I  may  be  able  to  save  him.  1  must 
dissemble  as  much  as  possible.  No  harm  must  come  to 
Richard  while  I  am  here. 

(Enter  PHELIM,  L.  i  E.    Begins  a  flirtation  with  her  at  once?) 

PHELIM.    There's  the  Spanish  beauty  I  met  twice  yester 
day — -and  I  believe  she's  pretty  well  gone  on  me. 
$  $  ^*  ELINORA.  (aside)  I  must  get  rid  of  this  troublesome  ad 
mirer  in  some  manner,  and   yet   keep  him  near  in  case  I 
need  his  assistance. 

PHELIM.   (comes  to  her)  You're  a  bird !     I  mean  you're 
pretty  as  a  bird. 
,-'  •':'    /~  ELINORA.    Ah,  senor,  you  flatter  me. 

PHELIM.    Not  a  bit  of  it.    I  bowed  twice  to  you  this  after 
noon.    I'm  a  man  that  falls  in  love  mighty  quick ! 
o  4      f    ELINORA.    The  senor  is  a  gallant  man ! 

(PHELIM  has  business  of  bowing?) 

PHELIM.    Do  you  know  that  I  think  a  great  deal  of  you! 
What  is  your  name  ? 
Q  /      /^  ELINORA.    Helena  Matanzas  ! 

PHELIM.    Is  that  so  ?    What  is  it  in  English  ? 
/  ELINOHA.    Same  thing  !    Heh-nu  Matanzas. 

PHELIM.  You're  one  of  the  prettiest  girls  I've  seen  over 
here.  Now,  then,  I  hate  to  be  fooling  around  and  wasting 
time.  I  am  one  of  these  fellers  that's^quick !  Now,  what  do 
you  ?  Will  you  marry  me  and  become  Mrs.  Phelim  McXab 
instead  of  Helen  Kansas  ? 

ELINORA.    Matanzas !  , 

PHELIM.    Yes,  Matanzas!     Now,  don't  jump  at   me.     I 
know  I'm  a  very  fascinating  man.    I  know  you  can't  resist 
ms,  but  try  to  calm  yourself  and  just  show  that  you're  anx 
ious  in  a  lady-like  way. 
.    ELINORA.     Oh,  serior,  this  is  so  sudden. 

PHELIM.  I  told  you  I  was  a  sudden  man.  Come,  what 
do  you  say  about  it  ? 

s  ELINORA.  (aside)  I  may  as  well  carry  out  the  joke  just  to 
pacify  him.  (Aloud}  Well,  I'll  tell  you,  we  will  have  to 
elope.  You  see,  my  uncle  is  a  very  peculiar  man.  He 
watches  me  all  the  time.  Disguised  as  my  maid,  we  might 
escape  from  here  unobserved. 

PHELIM.  But  where 's  my  bustle,  my  dress,  my  other  fix 
ings  to  be  a  lady  ? 


THE    CUBAN    SPY  25 

l'  ELINORA.  I  can  get  you  some  belonging  to  rny  maid. 
I'll  give  you  the  signal  by  saying  "  molasses,"  and  you  are 
to  reply  "  taffy." 

PHELIM.     I'll  say  molasses  and  you'll  say  taffy  ? 
^  ELINORA.     No.     I  say  molasses. 

PHELIM.     And  I'm  taffy.     But  look  here,  you're  not  giv 
ing  me  taffy,  are  you  ?  _ 

No  ;  you'll  get  molasses. 


(Exits  up  steps:) 

PHELIM.  Oh,  molasses,  you  sweet  creature,  you.  I  feel 
like  a  rainbow  smothered  in  honey,  wid  a  million  angels 
sprinkling  gum  drops  over  me. 

(Exit  L.  i  E.     introduce  specialty?) 

V  ELINORA.  (Entering,  descends  steps}  At   last  I  have  a 
moment  to  myself  to  watch  over  Richard  Carson  and  warn 
him  of  his  great  danger.     I  have  placed  that  warm-hearted 
Irishman  out  of  the  way  for  the  present,  and  I  may  be  able    "'»     / 
to  pursue  my  way  without  interruption. 

(Enter  CARL,  R.  i  E.) 

CARL,  I  got  away  from  that  Irish  woman  !  Ah  !  There's 
my  idol  !  Sweetest  of  Spanish  womens,  behold  me  at  your 
feet!  (Kneels.)  From  the  first  time  what  I  looked  at  you  I 
was  struck  !  I  mean  crazy  foolish  about  you  !  I  never  loved 
anybody  before,  and  this  is  my  first  offence  !  I  know  that 
that  Irishman  was  making  sheep's  eyes  on  you,  but  he's  no 
good!  He  buried  seven  wives  in  Ireland,  and  St.  Patrick 
chased  him  out  for  killing  his  grandfather!  Oh!  Miss  — 
Miss  —  what  is  your  name  ?  —  I  can't  make  resistance  about 
you!  If  you  don't  have  me  I'll  jump  overboard  and  hang 
myself!  I  lay  my  Dutch  heart  at  your  feet  and  I  accept 
you  ! 

•  ELINORA.   Rise  !   (He  does  so.)    From  the  first  time  I  saw 
Vou  I  was  struck  with  your  manly  beauty. 

CARL.    Why,  certainly  ! 

**  ELINORA.  I  could  not  be  seen  leaving  this  place  with 
you  because  my  uncle  and  brothers  watch  every  movement, 
but,  disguised  as  my  maid,  we  could  leave  here  with  se 
curity. 

CARL,   You  want  me  to  be  a  female  womans  ? 

ELINORA.  Yes.  I'll  find  garments  for  you.  Now,  there 
is  no  time  for  explanations.  I  will  throw  a  bundle  out  of 
the  window  to  you.  I  will  also  attire  myself  differently  to 


26  THE  CUBAN   SPY 

avoid  recognition.    Now,  go.    I'll  be  waiting  for  you  here 

in  the  dark.  To  avoid  mistakes  I  will  say  "  molasses  "  and 
you  will  say  "taffy." 

CARL.     You  put  molasses  on  me  and  1  give  you  taffy  ? 
^•ELINORA.      Remember  what  I   said!      Go — go — I  hear 
some  one  coming.    My  uncle  must  not  see  us  together.   Go. 
Don't  stop  to  talk.     (She  pushes  him  out  R.  i  L.     CARL  al- 
tempts  to  talk.) 

CARL.  But  which  do  I  say — syrup  of  figs  or  peanut 
candy  ? 

^ELINORA.  Go — go.  We  will  be  discovered.  (She  forces 
him  out.)  At  last !  Was  any  one  ever  bothered  in  this  way  ? 
Well.  I  think  it  is  the  easiest  way  to  rid  myself  of  my  ardent 
admirers.  Now,  then,  to  discover  Richard  Carson's  where 
abouts,  and  leave  my  admirers  to  explain  matters  to  each 
other.  I  have  something  more  serious  to  attend  to  than 
love-making.  {Ascends  stairs.) 

{Enter  BRIDGET,  R.  i  E.) 

BRIDGET.  The  Dutchman  gave  me  the  slip.  There's 
some  of  the  craziest  lot  of  people  around  here  I  ever  saw. 
You  can't  get  a  civil  answer  nor  information  of  any  kind. 

(CARL  enters  R.  i  E.) 

CARL.     What  was  that  you  said  I'd  say?     You  say  mo 
lasses  and  I  say  taffy  "  tooty-frooty." 
BRIDGET.     What  are  you  talking  about? 
CARL.     I  don't  know ;  I'm  in  love. 

(PHELIM  enters  boldly  from  L.   i   E.,  but  suddenly  seeing 
BRIDGET  he  darts  under  the  table  and  hides.) 

BRIDGET.     Where's  Phelim  McNab,  I  ask  you  ? 

CARL.  Well,  the  last  time  I  saw  him —  (PHELIM  hits 
CARL  on  the  foot  with  hand?)  Oh,  the  last  time  I  seen  him 
I  didn't  saw  him. 

BRIDGET.     Where  did  you  see  him  ? 

CARL.  Well,  I  saw  him —  (PHELIM  hits  him)  I  didn't 
see  him  until  I  looked  at  him.  Nit,  not,  no. 

BRIDGET.  Of  course  you  didn't,  you  idiot.  Now  answer 
me,  where  was  he  and  what  was  he  doing?  (PHELIM  hits 
CARL  again?) 

CARL.     He  was  hitting  me  on  de  foot. 

BRIDGET.    What  ? 

CARL.     I  say,  he  was  standing  on  his  feet. 

(BRIDGET  steps  on  PHELIM'S  hand  unconsciously  and  keeps 


THE    CUBAN    SPY  2"J 

on  talking  to  CARL.  PHELIM  grimaces,  squirms  and 
groans,  She's  on  my  hand,  she's  standing  on  my  fingers, 
etc.} 

BRIDGET.  You're  a  thick-headed  fool.  You  know  where 
Phelim  is  at  this  moment.  I  wish  I  could  stand  on  him. 

PHELIM.  (aside}  You  are  standing  on  him.  Oh,  she's 
like  a  ton  of  coal. 

BRIDGET.  It  won't  be  well  for  him  when  I  lay  my  hands 
on  him.  I've  followed  him  over  here,  and  you  can  bet  your 
life  I'll  find  him.  Bah  !  you  Dutch  fool,  get  away  out  of  my 
sight ! 

CARL.  Yes,  ma'am.  (She pushes  him  over  ;  he  scrambles  to 
his  feet ;  he  loses  his  hat  as  he  falls.  PHELIM  attempts  to 
escape  while  her  back  is  turned  and  drops  his  hat,  c.,  and  re 
turns  under  table.  CARL  scrambles  around  near  it  a?id  drops 
his  hat.  Picks  up  PHELIM'S  and  leaves  his  on  the  floor.  Puts 
on  PHELIM'S  hat.  Soon  as  BRIDGET  sees  it  she  screams?) 

BRIDGET.  The  hat!  The  hat!  It's  Phelim's  hat !  (Grabs 
it  from  CARL'S  head,  and  shrieks  in  a  hysterical  manner. 
PHELIM  escapes,  R.  i  E.) 

CARL.     De  woman  is  crazy  !    Dat's  my  hat ! 

BRIDGET.  It's  Phelim's  hat — and  he's  here,  or  it's  the 
ghost  of  his  hat !  Where  is  he  ?  (Looks  all  around,  and 
under  table,  still  holding  on  to  hat  ana' CARL.}  Come  along, 
you'll  help  me  to  find  him.  If  he's  in  this  house  I'll  have 
him,  if  I  have  to  tear  it  down  from  roof  to  cellar !  Come 
along!  I've  got  his  hat — and  I'll  find  the  rest  of  him — or 
I'll  kill  you  ! 

CARL.  Here  I  go  again !  I  was  going  to  get  married, 
but  now  I'm  going  to  get  killed.  Oh,  molasses  !  molasses! 
Save  your  own  taffy!  (Begins  to  cry ;  BRIDGET  drags  him 
out,  R.  i  E.  Enter  VALDEZ,  R.  2  E.,  looks  after  CARL  and 
BRIDGET.) 

VALDEZ.  There  is  no  danger  from  that  quarter,  Our 
plot  is  progressing  fairly  well.  With  that  Irishman  out  of 
the  way  the  end  is  near.  The  American  is  engaged  in  a 
game  of  cards,  and  Lopez  is  watching  an  opportunity  to 
drug  his  wine. 

(Enter  LOPEZ,  R.  2  E.) 

LOPEZ.  It's  all  right,  Captain  !  I  had  to  wait  my  chance, 
but  I  gave  him  the  drug  all  right. 

VALDEZ.  Good !  Let  him  have  another  if  you  can  get 
a  chance — we'll  make  doubly  sure.  He  has  got  enough 
money  to  pay  for  any  damage  we  may  do  to  this  old  shanty. 


28  THE    CUBAN    SPY 

LOPEZ.     Where  is  that  impudent  girl  ? 

VAI.DEZ.  I  don't  know,  and  I'm  not  worried  now,  for  you 
have  succeeded.  Let  this  room  be  kept  dark  for  the 
present.  (LOPEZ  takes  the  light.)  We  will  join  the  Ameri 
can,  to  avoid  suspicion  on  his  part. 

LOPEZ.     What  are  you  going  to  do  with  him? 

VALDEZ.  Don't  ask  silly  questions.  What  would  you 
do  to  a  mad  dog  who  threatened  to  bite  you  ?  (Laughs  and 
exits  R.  2  E.  with  LOPEZ.) 

(Enter  PHELIM    R.  i  E.,  disguised  as  "waiting  maid;"  fe 
male  garments) 

PHELIM.  This  is  a  nice  get-up  for  a  respectable  man! 
How  do  women  get  along  inside  of  these  togs,  I  wonder? 
Well,  I'm  all  ready  to  elope  if  my  black-eyed  charmer  is 
ready  and  willing.  It's  dark  enough  and  nobody  will  see 
us — 1  defy  my  own  mother  to  know  me. 

(Enter  CARL  in  female  garments,  L.  2  E.) 

CARL.  I'm  a  woman  but  I  don't  know  it.  I'm  all  ready 
for  to  slope  off  and  get  married  to  her.  (Sees  PHELIM.)  Ah  ! 
There  she  is,  Taffy  Molasses  ! 

PHELIM.    Molasses  taffy,  butter  scotch,  and  chewing  gum. 

CARL.    Is  that  you,  my  darling  ? 

PHELIM.  Yes,  Petty!  I'm  your  own  birdie,  waiting  to 
fly !  ( They  approach  each  other,  and  put  arms  around  each 
other.) 

CARL.    I  was  afraid  you  wouldn't  keep  your  promises. 

PHELIM.  And  I  was  afraid  you'd  throw  me  down !  Ah, 
my  darling,  I  love  you  so ! 

CARL.  I  love  you  harder  than  a  dozen  mules  can  kick. 
Give  me  one  sweet  kiss. 

PHELIM.  Certainly! — a  dozen  if  you  want  them!  I'm  a 
bird  at  kissing  !  (They. prepare  to  kiss  each  other ;  they  feel 
each  other's  faces ;  note  the  whiskers  on  chin  or  rough 
beard.) 

CARL.    Your  face  is  full  of  sand-paper  and  pimples. 

PHELIM.    And  yours  is  like  the  rocky  roads  to  Dublin. 

CARL.  Well,  kiss  me,  sweetheart,  and  let  us  skip  de 
gutter. 

(Just  as  they  are  about  to  kiss  each  other  a  noise  is  heard  and 
BRIDGET  comes  down-stairs.  CARL  a?id  PHELIM  pick  up 
their  skirts  and  rush  off  R.  and  L.  BRIDGET  comes  c.) 

BRIDGET.    I  thought  I  heard  the  sound  of  voices  and 


THE    CUBAN    SPY  29 

somebody  scampering  off.     Well,  I'm  not  surprised  at  any 
thing  I  see  or  hear  in  this,  crazy  house. 

(PHELIM  returns  L.  2  c.) 

PHELIM.    Molasses— taffy — molasses. 

BRIDGET.    Who  the  deuce  is  it  that  wants  molasses  ? 

PHELIM.  There  she  is.  (Goes  to  BRIDGET.)  I  thought  I 
heard  some  one  coming,  that's  why  I  scooted  away.  You're 
not  angry  with  me,  are  you  ?  (Puts  arms  around  her.} 

BRIDGET.   What's  going  on  here,  I'd  like  to  know. 

PHELIM.    We'll  elope  while  we  have  the  chance! 

BRIDGET.  It  sounds  like  Phelim  McNab's  voice,  or  I'm 
a  ghost !  Is  that  you,  Phelim  ? 

PHELIM.  Yes,  Helene,  your  own  Phelim  is  at  your  side. 
One  sweet  kiss  and  away  we  go !  Fix  your  face  and  I'll 
give  you  a  smack  that  would  water  a  horse !  (He  is  just 
about  to  kiss  her  when  LOPEZ  enters  L.  i  E.  with  a  light!)  Holy 
Moses  !  It's  Bridget ! 

BRIDGET,  (screams)  Phelim  McNab  s  turned  into  a 
woman ! 

PHELIM.  Legs,  do  your  duty!  (Runs  off,  holding  up 
skirts,  L.  i  E.) 

BRIDGET.  After  him  !  Woman  or  no  woman,  I'll  have 
every  rag  on  him  or  her — whichever  she  or  him  happens 
to  be. 

(Dashes  off  in  pursuit.  Soon  as  she  exits  CARL  rushes  in, 
bumps  into  LOPEZ,  and  both  fall  from  the  shock.  LOPEZ 
thr oivs  candlestick  after  CARL,  who  scrambles  to  his  feet 
and  has  funny  business  of  escaping  up-stairs — tripping  orer 
his  female  garments,  falling  down  a  few  steps,  and  finally 
escaping  up-stairs.  LOPEZ  groping  to  find  candle,  and  w  ith 
matches  to  relight  candle  during  all  of  CARL'S  ad  lib.  busi 
ness  of  escaping  up  steps} 

(Enter  RICHARD,  VALDEZ,  JASPER,  and  men  from  R.  2  E.) 

RICHARD.  I  believe  I  will  bid  you  good-night.  I  feel 
very  drowsy ;  a  strange  feeling  seems  to  steal  over  me  and 
my  limbs  refuse  to  bear  me.  (Sinks  in  chair.}  What  does 
this  mean? 

VALDEZ.  It  means,  my  fine  American  braggart,  that  you 
are  drugged  and  in  the  power  of  Roderick  Valdez. 

RICHARD.    Valdez !     (Attempts  to  rise.}    Coward ! 

VALDEZ.    Yes,  and  you  are  helpless  to  defend  yourself. 


30  THE    CUBAN    SPY 

(Laughs?)  Look  about  you.  You  are  surrounded  by 
men  in  my  employ.  You  will  never  leave  this  place 
alive ! 

RICHARD.  Would  you  murder  me  in  my  helpless  condi 
tion  ? 

VALDEZ.  I  mean  to  burn  down  this  place,  and  if  you  are 
able  to  crawl  from  the  flames  you  are  at  liberty  to  do  so. 
Bear  him  to  the  stairway  and  tie  him.  (JASPER  and  men 
force  RICHARD  to  stairs  and  bind  him  with  rope.  Soon  as 
this  is  done  ELI  NOR  A  darts  down  stairs?) 

L-  A  //'ELINORA.  Cowards!  Do  you  intend  to  murder  this 
brave  man  ?  Stand  back !  You  call  yourselves  men,  but 
you  are  miserable  dogs. 

JASPER.     Out  of  the  way,  no  power  can  save  him  now. 
/  -  /     ^ELINORA.     I  will  save  him  or  die  by  his  side.     (Levels 
pistol  at  the  group.     They  fall  back?)     Cowards  !  a  woman 
is  a  match  for  such  Spaniard  curs  as  you   are.     (LOPEZ 
steals  behind  her  unobserved?) 

VALDEZ.  You  are  quite  theatrical  in  your  language  and 
deeds,  but  you  have  reckoned  without  your  host.  (LoPEZ 
suddenly  seizes  the  pistol  from  her  grasp  and  two  men  seize 
her  quickly?)  Now,  my  fair  lady !  You  see  how  easily  the 
tables  are  turned  when  you  are  dealing  with  men  of  courage 
and  intellect. 

AWJ?  /.  '  ELINORA.  Men  of  courage !  Vipers  and  crawling  rep 
tiles.  Men  of  courage  do  not  war  on  women  nor  murder 
helpless  men. 

VALDEZ.  Look  your  last  upon  him  !  Bear  her  into  that 
room  and  lock  the  door.  (She  is  taken  into  R.  i  E.  and  door 
locked.}  Now  then  apply  the  torch  and  let  their  cry  for  help 
be  answered  by  the  roaring  flames.  (LOPEZ  with  a  torch  is 
seen  to  ignite  the  tow  upon  stairs,  etc.  Music.  Flames  ap 
pear  R.  and  L.  Red  fire  under  stairs.*} 

VALDEZ.     Now  then  out  of  the  building  everybody. 

(All  exit  R.  i  E.  ELINORA  batters  down  the  door  with  an  axe 
after  crying  for  help  in  vain.  She  runs  over  to  RICHARD 
and  unties  him  and  begins  to  assist  him  up  the  stairs  just 
as  VALDEZ,  JASPER,  and  followers  enter  hurriedly,  L.) 

VALDEZ.  By  all  the  fiends,  she  has  escaped  from  the 
room  and  is  saving  the  American.  Shoot !  Shoot  them 
down.  It's  the  Cuban  spy  ! 

*  Arrange  to  make  this  an  effective  fire  scene. 


THE   CUBAN    SPY  3! 

(PHELIM  and  CARL  enter  L.  u.  E.  with  guns,  and  level  them  at 

villains} 

PHELIM.     Shoot  if  you  dare  ! 

CARL.  Down  on  your  knees  or  I'll  pepper  you  full  of 
holes.  ( They  cover  ELINORA'S  escape  up  the  steps.  Flames, 
smoke,  etc.,  add  to  the  picture.  VALDEZ  and  men  are  huddled 
down  L.) 


CURTAIN 


ACT  III 

SCENE. —  Old  sugar  house  used  as  headquarters  and  prison 
by  VALDEZ  (see  scene  plot}.  Music.  JASPER  and  sev eral 
Spanish  guerillas  discovered  in  room,  L.,  some  seated  on 
boxes.  JASPER  at  small  table,  examining  papers  by  aid  of 
candle. 

JASPER.  We've  done  much  better  than  we  expected. 
The  Captain  will  be  pleased  with  our  work.  It  won't  do  to 
keep  the  prisoners  in  the  other  building — we'd  better  have 
them  here  where  we  can  watch  every  movement. 

(Enter  SOPHIE,  L.,  a  young  Ingenue} 

SOPHIE.  Oh,  Mr.  Jasper,  I  wanted  to  tell  you  that  the 
prisoners  are  quarreling,  and  one  threatens  to  throw  the 
other  out  of  the  window. 

JASPER.  I'll  bet  it's  that  Irishman.  He'd  try  to  quarrel 
with  himself  if  he  was  the  only  one  in  the  building. 

SOPHIE.  {  think  that's  the  very  one  that  started  the 
quarrel.  He  had  the  impudence  to  try  to  kiss  me  !  He 
asked  me  if  I'd  miss  a  kiss,  and  I  said  that  I  wouldn't  miss 
a  kiss  for  anything,  and  he  actually  tried  to  kiss  me  then 
and  there. 

JASPER.  Bring  the  prisoners  into  this  building.  (LOPEZ 
exits  L.)  They  will  be  much  safer,  and  leave  room  for 
quieter  ones.  ( To  SOPHIE.)  You  had  better  remain  away 
from  our  American  prisoners.  They  are  too  bold  and 
impudent. 

SOPHIE.  Well,  I  rather  like  them  to  be  smart  and  atten 
tive  !  I  don't  like  these  drowsy  kinds  of  men.  Oh,  if  all 
Americans  are  like  these  prisoners,  I'd  like  to  get  ac 
quainted  with  them. 

JASPER  .  The  acquaintance  won't  last  long — we'll  soon  be 
rid  of  them. 

(LOPEZ  brings  in  CARL  and  PHELIM  as  prisoners,  loaded 
down  with  chains,  and  seeming  quite  anxious  to  quarrel 
with  each  other} 

PHELIM.  I  won't  be  hitched  up  with  the  Dutch !  The 
idea  of  chaining  me  to  that  barrel  of  sour  krout.  It's  an 
insult  to  Ireland,  and  I  won't  stand  it. 

32 


THE    CUBAN    SPY  33 

CARL.  Don't  put  airs  on !  Don't  you  think  you're  afraid 
of  me  !  If  you  was  twice  as  big  as  Ireland  I  wouldn't  care ! 
I  don't  want  to  be  in  company  with  you.  Bite  this  chain  in 
two,  and  you  go  my  way  and  I'll  go  yours ! 

PHELIM.  You'll  not  follow  me  around  any  more.  Say 
you  (to  JASPER).  Put  this  Dutchman  into  a  jail  by  himself! 

CARL.  Yes — give  me  a  bridle  chamber  all  to  my  lone 
some  !  Throw  this  in  the  cellar  with  the  rats  and  the 
mices  and  the  cockroaches. 

PHELIM.  If  a  rat  would  look  at  you  it  would  have  the 
jim-jams. 

JASPER.  Enough  of  this  quarreling.  Be  pleasant  to  each 
other,  for  at  daybreak  you  are  to  be  shot ! 

PHELIM.  Well,  I'd  rather  be  shot  than  have  this  Dutch 
man  tagging  around  after  me.  (Sees  SOPHIE.)  Ah  !  there's 
the  little  beauty  that  brought  my  dinner  to  me  !  Ah  !  my, 
but  she's  sweet ;  and  you're  not  married,  are  you  ? 

SOPHIE.     No,  indeed;  I'm  still  single. 

PHELIM.  Well,  I  don't  blame  you  for  being  single. 
Look  at  the  mugs  of  the  men  around  you  !  They  look  like 
"  Jo-Jo."  Then  look  at  me — a  fine,  handsome  man  !  No 
wonder  you're  crazy  about  me.  Can  you  blame  her  ?  Ah ! 
if  I  wasn't  chained  up  I'd  make  love  to  you  and  marry  you 
in  a  minute  ! 

SOPHIE.  It's  too  bad  you  are  all  chained  up !  I  feel 
sorry  for  you. 

PHELIM.     You're  not  half  as  sorry  as  I  am  ! 

JASPER  (to  LOPEZ).  Place  them  in  that  room !  {Indicates 
room,  R.)  See  that  everything  is  secure ! 

(LOPEZ  and  a  soldier  attempt  to  put  PHELIM  and  CARL  into 
room,  R.) 

PHELIM.  Don't  shove  me.  Don't  put  your  dirty  paws 
on  me.  Remember  that  President  McKinley,  Mark  Hanna, 
and  Jerry  Simpson  are  looking  at  you !  Don't  shove  me. 
I  tell  you —  ( They  are  placed  in  room,  R.,  and  door  in  par 
tition  locked.}  Come  in  here,  the  whole  lot  of  you,  and  I'll 
wipe  the  floor  up  with  you.  I  can  lick  the  whole  Spanish 
army  and  old  Weyler  thrown  in  !  You're  afraid  to  come 
in  here,  you  yaller-faced  monkeys  !  Speaking  of  monkeys, 
there's  a  rat.  (Suddenly  spies  an  imaginary  rat  off  right. 
Seizes  a  stuffed  club  from  floor  and  makes  a  dive  to  strike 
the  rat.  The  sudden  movement  and  lurch  to  R.  pulls  CARL 
down  sprawling  to  the  floor,  and  as  they  both  sprawl  on  the 
floor  they  begin  to  pummel  each  other.  LOPEZ  opens  the 
door,  comes  in  to  separate  them.  Both  turn  on  LOPEZ,  kick 

3 


34  THE   CUBAN   SPY 

and  punch  him  until  he  dashes  out  of  room,  R.,  and  hur 
riedly  closes  and  locks  the  door.  CARL  and  PHELIM  shake 
hands  and  begin  singing;} 

"  Oh,  the  star-spangled  banner  in  triumph  shall  wave 
O'er  the  land  of  the  free  and  the  home  of  the  brave." 

PHELIM.  Let  them  come  in  again  and  interfere  in  our 
family  matters  again ! 

CARL.  Germany  and  Ireland  is  united  again !  Three 
cheers  for  me  and  myself! 

PHELIM.     No,  no  ;  three  cheers  for  me  ! 

CARL.     Three  cheers  for  the  both  of  us. 

JASPER,  (to  LOPEZ)  Don't  bother  with  them.  Let  them 
remain  there  until  the  Captain  disposes  of  them.  ( Whistle 
heard  off  L.)  There  is  his  signal.  Something  of  importance 
has  occurred ! 

{Exit  JASPER,  LOPEZ,  and  Soldiers  L.  3  E.,  leaving  SOPHIE 
alone  in  room,  L.) 

PHELIM.  I  believe  they've  gone  out !  (Peers  through  key 
hole  of  door}  There's  no  one  in  there  but  the  girl.  Now, 
Carl-— don't  let  her  look  at  your  face,  for  you'll  frighten 
her!  I'm  going  to  telephone  to  her.  (Through  keyhole}  I 
say,  young  woman — Miss — a — Miss — a — 

SOPHIE,    Sophie  is  my  name ! 

PHELIM.    Well,  Sophia,  come  over  here. 

SOPHIE.  I'm  afraid  to.  If  they  catch  me  conversing  with 
you  there  will  be  trouble. 

PHELIM.  A  good  smart,  clever  girl  like  you  isn't  going 
to  be  caught !  Come  over,  my  angel. 

CARL.  You  could  coax  birds  out  of  a  tree !  You're  such 
a  liar. 

(SOPHIE  comes  to  door} 

SOPHIE.    What  do  you  want  ? 

PHELIM.    Are  the  rapscallions  all  gone  ? 

SOPHIE.    They  have  gone  into  the  other  building. 

PHELIM.    Couldn't  you  open  the  door  for  a  minute  ? 

SOPHIE.  No,  indeed!  The  key  is  in  the  lock,  but  I 
wouldn't  dare  to  touch  it. 

PHELIM.  Ah  !  you  are  a  brave  girl — beautiful  and  sweet 
as  a  hive  full  of  honey !  If  I  could  only  have  another  look 
at  your  sweet  face  I  could  die  content.  Just  turn  the  key 
in  the  lock — that's  a  good  girl. 

CARL.    Yes ;  just  twist  it,  twist  it. 


THE    CUBAN    SPY  35 

PHELIM.  Shut  up !  There's  no  blarney  in  you !  Your 
head  is  full  of  smearcase.  (To  SOPHIE)  Go  ahead,  Sophie, 
dear — pretty  little  Sophie  ! 

SOPHIE.  I'm  sure  they'll  be  real  angry  if  I  open  this 
door.  There's  a  whole  bunch  of  keys  in  the  door. 

PHELIM.  I  won't  run  away — we  can't — we're  chained 
hand  and  foot. 

CARL.    Yes  ;  we're  two  pug  dogs  chained  up. 

PHELIM.  Shut  up,  will  you  !  ( To  SOPHIE)  Sophie  !  if  ever 
I  get  away  from  here,  and  I  can  induce  you  to  go  to  the 
United  States,  I'll  marry  you.  My  father  owns  the  United 
States  mint,  where  they  make  all  the  money. 

CARL.  And  my  father  owns  a  lot  of  pepper  mint,  where 
they  make  mint  juleps  ! 

SOPHIE.  I'm  so  afraid  I'll  be  caught  by  the  soldiers. 
(Unlocks  door?)  There!  I've  unlocked  the  door,  but  you 
mustn't  come  out. 

PHELIM.  Why,  of  course  not!  Ah,  Sophie,  you're  an 
angel.  I'll  buy  you  a  pair  of  wings ! 

CARL.    Yes  ;  then  you'll  be  "  fly.'' 

(PHELIM  comes  out,  dragging  CARL  with  him?) 

PHELIM.  How  can  I  ever  repay  you,  my  darling  Sophie, 
for  your  kindness  (embraces  her}.  There's  a  kiss  for  you. 
(CARL  tries  to  kiss  her,  but  PHELIM  prevents  him}  Not 
you.  You're  not  in  this.  You  don't  belong  to  our  lodge. 

CARL.     Well,  I'm  grateful,  same  as  you  are. 

PHELIM.  That  may  be,  but  you  don't  kiss  Sophie. 
Sophie  belongs  to  me.  The  idea  of  you  trying  to  kiss 
Sophie  !  Why,  it's  obstropulous  ! 

(JASPER  heard  outside,  L.) 

JASPER.  Very  well,  Captain.  It  shall  be  attended  to  at 
once. 

SOPHIE.  Oh,  they  are  returning!  Quick,  get  into  the 
room,  so  I  can  lock  the  door ! 

PHELIM.  No;  we'll  lock  the  door.  (Takes  bunch  of  keys} 
We'll  lock  ourselves  in. 

SOPHIE.     Oh,  no;  that  won't  do. 

PHELIM.  Oh,  yes,  it  will,  Sophie  darling.  Sh —  There's 
some  one  coming.  Sneak  out  quick  as  you  can.  I'll  meet 
you  in  here  or  outside.  Go  on,  Sophie,  if  you  love  me ! 
Be  quick  and  skip  ! 

SOPHIE.     Oh,  I  don't  know  how  this  will  end! 

(She  exits,  L.) 


36  THE    CUBAN    SPY 

PHELIM.  I  wish  I  did.  Now  then,  Carl,  try  these  keys 
and  let's  get  the  jewelry  off  of  us.  (  Tries  keys}  Ah,  here's 
one  !  Hurroo  !  Erin  go  bragh  !  It's  opened  ! 

CARL.  "  De  Wacht  am  Rhine  !  Kattufel  salad  and  bum- 
pernickel !"  mine's  off,  too  !  (They  put  chains  into  room,  R.) 

PHELIM.     Now  then  for  liberty,  and  legs  do  your  duty. 

(Just  as  they  are  about  to  exit,  L.,  BRIDGET'S  voice  is  heard 
OjfL.) 

BRIDGET.  Will  I  ever  find  the  right  way  out  of  here  at 
all? 

PHELIM.  Murder  in  Irish,  I'm  in  the  soup  !  (  They  start 
back  toward  partition  as  BRIDGET  enters,  L.  She  recognizes 
PHELIM  and  utters  a  cry  of  surprise.} 

BRIDGET.  So  I've  got  you  at  last,  have  I  ?  What  have 
you  got  to  say  for  yourself? 

PHELIM.  (to  CARL)  Get  me  out  of  this,  and  I'll  never  for 
get  you. 

CARL,  (as ide  to  PHELIM)  Pretend  that  you're  crazy;  act 
natural.  (Crosses  over  to  BRIDGET)  My  dear  woman,  don't 
you  see  what's  the  matter  ? 

BRIDGET.  I  see  that  I've  got  him,  and  he'll  not  get  away 
from  me,  either. 

CARL.  Look  at  his  eyes  ;  look  at  that  face  ;  it  looks  like 
a  slice  of  fried  pie.  Look  at  that  mouth ;  it  ain't  got  any 
express  complexion  about  it.  Don't  you  see  what's  the 
matter?  De  man  is  a  lunaticle.  He's  crazy.  (To  PHELIM) 
Act  like  you  was  in  de  bug  house — crazy,  foolish. 

BRIDGET.     Phelim  McNab  crazy,  is  he  ? 

CARL.  He's  got  rats  in  his  garret.  Look  at  him.  He's 
got  soap  suds  coming  out  of  his  mouth.  (PHELIM  begins  a 
few  violent  contortions  ;  twists  his  legs,  grimaces  and  finally 
utters  a  yell.  BRIDGET  in  alarm  releases  him  and  dodges 
behind  CARL  for  protection.) 

CARL.  Look  him  in  the  eye!  Don't  take  your  eyes  off 
of  him!  He'll  kill  the  whole  two  both  of  us. 

PHELIM.  You  are  my  grandfather  and  you  are  my  grand 
mother!  I  am  a  bicycle  ! 

BRIDGET.  He  takes  me  for  a  velocipede  and  you  for  a 
wheelbarrow ! 

PHELIM.  I'm  a  scorcher!  Phew!  See  me  going  up  a 
hill  and  down  a  hill !  Is  my  lamp  lit  ?  Is  my  lamp  lit  ? 

CARL.  He's  turned  into  a  lamp-post!  Poor  fellow!  He 
don't  know  what  I'm  doing  or  what  he  did  !  He's  crazy  as 
a  bedbug. 

PHELIM.     Hurrah  !    I've  found  a  knife  !   (Feels  in  pocket.) 


THE    CUBAN    SPY  37 

I'll  kill  you  both  and  make  you  into  rubber  tires  for  my 
wheels !  Your  fat  will  make  oil  for  my  lamp  and  your 
bones  will  be  spokes  for  my  wheels !  I'll  paint  the  bike 
red  with  your  blood  ! 

CARL.  I'll  be  darned  if  you  do!  You  don't  grease  your 
bike  with  my  oleomargarine  ! 

BRIDGET.     Hold  him!     Hold  him! 

CARL.     Hold  him  yourself.    I  don't  want  him  to  bite  me. 

BRIDGET.  Don't  let  him  come  near  me!  Are  you  a 
man  ? 

CARL.  Yes,  but  I'm  not  working  at  it.  Do  you  take  me 
for  a  fool  to  try  to  hold  dot  wild  crazy  Irishman  ?  No,  sir! 
I'm  no  loonitical  asylum  ! 

PHELIM.  Stand  where  you  are,  both  of  you — the  woman 
in  particular.  I'll  have  her  life  or  I'll  kill  her ! 

BRIDGET.  Bad  luck  to  you,  you'll  not  murder  me  if  I 
know  it !  (Short  and  wild  chase  ensues,  and  PHELIM, yelling 
like  an  Indian,  chases  them  both  off  L.  2  E.) 

PHELIM.  That's  the  way  to  get  rid  of  her!  The  Dutch 
man's  advice  was  good.  She'll  not  bother  me  any  more. 
(Laughs?)  The  crazy  business  is  a  great  thing. 

CARL.  Well,  Irish,  I  done  it  up  in  style  for  you,  didn't  I. 
Shake.  (They  shake  hands.}  Wasn't  it  a  lucky  thing  I 
thought  to  make  you  crazy? 

PHELIM.  I  haven't  enjoyed  myself  so  well  since  I  had  the 
"  newmonia  !"  (  While  they  are  thus  laughing  and  compli 
menting  each  other  BRIDGET  enters  at  back  from  L.  and  comes 
down  between  tJiem.  They  are  laughing  and  hitting  each  other 
on  the  back.  Suddenly  CARL  looks  up  and  sees  her.  He 
droops  and  falls  with  astonishment.  PHELIM  then  sees  her, 
and  begins  a  wild  series  of  contortions  to  impress  her  with  his 
"  crazy  antics" 

BRIDGET.  You  can't  work  that  on  me.  I'm  on  to  your 
tricks.  You're  crazy,  are  you  ?  And  this  Dutchman  wants 
to  make  a  fool  of  me,  does  he  ?  I'll  bring  you  to  your 
senses,  so  I  will.  (Beats  CARL  with  umbrella.  He  runs  off 
L.  2  E.  PHELIM  tries  to  dodge  her,  but  she  seizes  him  by  the 
coat.  He  slips  out  of  his  coat  and  escapes  L.  2  E.)  You'll 
not  get  away  from  me  again.  (Sees  coat.}  Well !  He's 
skinned  out  of  his  coat  like  an  eel.  Stop  him!  Stop  the 
crazy  man  !  (Chases  off  after  PHELIM,  waving  the  coat.} 

(LOPEZ  enters  L.) 

LOPEZ.  There's  that  wild  Irishwoman  again.  She  seems 
to  be  everywhere  we  go.  (Goes  over  to  partition^)  Hello ! 
The  door  is  opened  (looks  in)  and  the  prisoners  gone! 


38  THE    CUBAN    SPY 

Here's  a  nice  fix.  If  the  Captain  finds  it  out  I'll  be  shot  in 
stead  of  them.  (Finds  keys.)  I'll  just  lock  the  door  and 
keep  mum  about  it.  Oh,  these  Americans !  these  Amer 
icans  !  Now  you've  got  'em  and  now  you  haven't  got  'em ! 

(Enter    VALDEZ,   L.     JASPER    and  men  follow  in,    having 
RICHARD  bound  and  a  prisoner^ 

VALDEZ.  For  the  short  time  you  have  to  remain  on 
earth  this  will  be  your  place  of  safe  keeping,  and  I  assure 
you  that  the  Cuban  spy  will  not  lend  a  helping  hand  to 
your  escape.  Make  your  peace  with  heaven,  for  your  time 
is  short. 

RICHARD.  Fool  that  I  was  not  to  see  through  your  dis 
guise  and  clumsy  plot  to  entrap  me. 

VALDEZ.  You  will  admit  that  you  Americans  are  not  as 
smart  as  you  give  yourselves  credit  to  be. 

RICHARD.  In  treachery  and  low  cunning  you  excel  any 
other  race  of  people.  Is  it  manly  to  drug  a  man  and  then 
leave  him  to  perish  in  the  flames  ?  Is  this  the  boasted 
courage  of  Weyler's  representative  ? 

VALDEZ.  Fume  and  fret  as  much  as  you  like.  I  laid  the 
trap  for  you  and  you  stepped  into  it.  Your  friend  the 
Cuban  spy  has  brought  you  to  a  nice  pass. 

RICHARD.  You  pretended  to  be  a  friend  of  the  patriots 
while  in  the  States.  You  are  doubly  a  scoundrel  for  such 
pretensions.  You  persecute  a  woman  and  you  are  a  cur 
and  a  coward  for  doing  so. 

VALDEZ.  That  woman  is  in  my  way  and  I  have  ample 
reasons  for  her  removal.  As  to  the  patriots,  misguided 
wretches,  one  and  all,  they'll  either  hang  or  be  shot  down 
soon  as  captured. 

RICHARD.  That  is  your  mode  of  warfare,  is  it  ?  Guer 
rillas,  robbers,  cut-throats  ! 

VALDEZ.  We  conduct  our  warfare  to  suit  ourselves,  and 
we  will  not  ask  the  American  government  for  its  advice  on 
that  matter.  If  you  are  a  citizen  of  that  boastful  nation, 
what  are  you  doing  over  here  ? 

RICHARD.  Aiding  by  my  voice  and  means  the  inde 
pendence  of  Cuba !  Joining  the  struggling  men  who  are 
seeking  to  free  themselves  from  the  hated  rule  of  Spain 
and  such  wretches  as  yourself  and  the  craven  Weyler ! 

VALDEZ.     Put  a  bridle  upon  your  tongue  ! 

RICHARD.  I  have  not  yet  been  taken  with  arms  in  my 
possession,  nor  in  an  act  of  hostility.  I  have  a  right  as  a 
man  to  express  my  opinion,  and  I  shall  continue  to  do  so. 

VALDEZ.     You  have  been  captured,  you'll  admit. 


THE    CUBAN    SPY  39 

RICHARD.  By  treachery,  as  the  brave  Maceo  was  taken 
and  murdered.  But  there  is  a  day  of  retribution  for  such  as 
you  and  your  master  in  Havana! 

VALDEZ.  Think  of  your  own  fate.  Your  life  hangs  by  a 
single  thread.  Lopez,  did  you  remove  the  prisoners  in 
that  room  to  place  this  one  in  it  ? 

LOPEZ,  {hesitates)  No — yes — I  mean — the  room  is  empty, 
as  you  ordered ! 

VALDEZ.  Conduct  the  American  into  it.  See  that  the 
ropes  are  tight  and  secure.  When  next  you  emerge  from 
that  room  it  will  be  for  your  execution. 

RICHARD.     I  defy  you  ! 

VALDEZ.  Will  you  tell  me  where  to  find  that  girl — the 
spy? 

RICHARD.  No  ;  I  would  rather  die  than  speak  a  single 
word  that  would  place  her  in  the  power  of  such  a  villain  as 
you  are.  {Exit  RICHARD.) 

{Music.     ELINOR  A  attired  as  a  Sister  of  Charity  or  ' '  Red 
Cross"  Society.) 

ELINORA.     I   came   to   offer  consolation  to  those  con-   *>~ 
demned  and  about  to  die. 

VALDEZ.  They  do  not  need  it,  nor  would  they  accept  it, 
I  am  sure. 

ELINORA.     All  men  need  consolation  in  their  last  hours.    ,'- 
No  matter  how  wicked,  there  is  still  a  desire  to  repent  on 
the  part  of  all  who  have  led  evil  lives  when   death  is  at 
hand. 

VALDEZ.     These  Americans  seem  to  care  for  nothing  ! 
While  I  do  not  wish  to  prevent  you  in  your  work  of  mercy, 
you  will  find  it  fruitless  and  barren  of  good  results. 
/  •  ELINORA.     I  am  sure  of  good  results,  if  the  prisoner  will 
but  listen  to  my  words  of  consolation. 

VALDEZ.     But  he  is  a  heartless  villain  ! 

i    ELINORA.     Let   him   who   is   without  sin  cast  the  first     v-A 
stone  !    Would  you  see  him  die  unprepared  ? 

VALDEZ.  It  matters  not  to  me.  I  obey  my  military  rules 
and  my  commanding  officer.  v> 

^    ELINORA.     Has  General  Weyler  condemned  this  Ameri 
can  so  soon  to  death  ? 

VALDEZ.  I  am  commanding  this  detachment  of  Spanish 
volunteers.  This  man  is  a  spy,  and  he  has  been  captured 
with  important  documents  in  his  possession.  , 

ELIXORA.     Are  you  speaking  the  truth  ? 

VALDEZ.     I  am  !   But  visit  the  prisoner  if  you  will.     His 


40  THE    CUBAN    SPY 

time  is  short,  therefore  you  have  but  a  few  moments  to 
ease  his  conscience. 

ELINORA.     A  few  moments  will  be  sufficient ! 

VALDEZ.  Lopez,  admit  her  to  the  room  !  (LOPEZ  opens 
door — ELINORA  slowly  enters}  Lopez — hearken  to  every 
word  uttered  !  (  LOPEZ  listens  at  half -open  door). 

ELINORA  (to  RICHARD).  I  came  to  offer  words  of  conso 
lation  !    You  are  soon  to  die,  and  innocent  or  guilty  you 
should  be  prepared.     (RICHARD  looks  up,  and  recognizes 
her.} 
I  RICHARD.     Elinora ! 

I/ELINOR  A.  Richard!  You  here!  (Makes  a  warning- 
motion  to  lip,  and  speaks  low)  'Sh  !  We  are  observed,  and 
every  word  listened  to  !  (louder}  Think  of  your  fate,  and 
be  prepared  to  meet  it. 

RICHARD.  I  am !  I  came  to  Cuba  to  aid  in  a  glorious 
cause.  I  am  in  the  hands  of  the  merciless  guerillas,  but  I 
will  die  an  American,  breathing  defiance  to  the  end,  and 
shouting  "  Cuba  Libre  !" 

I/ELINORA.  We  should  forgive  our  enemies.  Here ! 
(lower)  I  place  this  pistol  within  your  breast.  Make  good 
use  of  it  should  needs  be.  (As  she  speaks,  she  places  a 
revolver  within  his  vest)  Do  not  despair!  I  will  never 
desert  you !  (rises)  Farewell !  Meet  your  fate  as  becomes 
a  brave  man,  and  trust  to  One  above  who  hearkens  to  those 
in  affliction — He  who  rewards  the  innocent  and  punishes 
the  guilty.  (Passes  out  of  room — LOPEZ  locks  the  door} 
The  prisoner  is  prepared.  I  have  succeeded  in  obtaining 
good  results. 

VALDEZ.     I  am  pleased  to  think  you  have  succeeded! 
*-.  ELINORA.     Considering  the  surroundings,  better  than  I 

expected. 

VALDEZ.  I  may  require  your  kind  services  soon.  I 
need  consolation  at  times. 

ELINORA.  When  that  time  arrives,  rest  assured  I  will  be 
present,  I  hope.  (Exits,  L.) 

VALDEZ.  (to  LOPEZ)  Follow  her,  see  where  she  goes,  and 
report  everything  to  me.  I  half  distrust  her.  And  Lopez, 
let  me  warn  you  about  drinking — keep  your  head  clear. 
There  is  important  work  ahead  for  us. 

LOPEZ.     I'm  not  drinking,  sir! 

VALDEZ.  I  warn  you  to  remain  sober.  Follow  that 
person,  and  be  quick  about  it.  (LoPEZ  exits,  L.  He  has 
been  showing  signs  of  liquor  since  he  entered)  Jasper,  I 
think  we  had  best  avoid  further  delay. 

JASPER.     In  which  way  ? 


THE   CUBAN    SPY  41 

VALDEZ.  This  American  has  crossed  me  several  times, 
and  the  sooner  we  dispose  of  him  the  better.  His  govern 
ment  will  never  make  inquiries  after  him,  and  furthermore, 
he  is  here  in  arms  against  us. 

JASPER.  He  has  not  been  captured  in  open  warfare  nor 
has  he  as  yet  committed  any  act  against  our  government. 

VBLDEZ.  Very  true.  But  what  does  that  matter  ?  We 
have  Americans  and  Cubans  in  jail  for  doing  much  less, 
and  who  is  to  prevent  us  from  putting  them  out  of  the  way 
if  we  condemn  them  ? 

JASPER.  That's  very  true.  This  American  has  interfered 
in  your  personal  matters  and  you  now  have  the  power  to 
remove  him. 

VALDEZ.  Yes,  and  I'll  do  it.  Jasper,  you  don't  know  the 
danger  surrounding  me  while  that  Cuban  spy  lives.  So  far 
she  has  not  identified  me,  and  I  do  not  propose  to  give  her 
the  opportunity.  Do  you  see  this  ?  (Shouts  mark  in  palm 
of  /land.) 

JASPER.  A  brand !  A  brand  that  could  be  recognized 
anywhere. 

VALDEZ.  So  far  she  has  not  seen  it,  and  I'll  take  precious 
good  care  that  she  won't.  (Enter  LOPEZ,  L.)  Well,  what 
did  you  discover  ? 

LOPEZ.  Nothing.  She  went  into  the  other  building  and 
then  I  lost  track  of  her  altogether. 

VALDEZ.  You  addle-headed  fool !  I  told  you  to  follow 
close  upon  her  track.  You've  been  drinking  again. 

LOPEZ.     'Pon  my  word,  Captain,  I'm  sober  as  a  judge. 

VALDEZ.  Watch  the  building  and  bring  me  all  the  infor 
mation  possible.  Go.  (LOPEZ  exits,  L.,  partially  stagger 
ing)  It  won't  do  to  trust  that  fellow  with  any  important 
mission.  He's  growing  worse  and  worse.  Now  about  this 
American.  I  have  decided  to  rid  myself  of  him  at  once. 

JASPER.    We  are  here  to  obey ! 

(Enter  SOPHIE,  L.) 

SOPHIE.  Captain,  did  you  know  that  one  of  the  prisoners 
has  escaped. 

JASPER.     Escaped !     Which  one  ? 

SOPHIE,  (hesitates)  The  fat  one— the  German.  I  saw  him 
running  away  like  a  race  horse.  He's  the  only  one  I  saw. 
I  didn't  see  the  other  one,  the  real  nice  one — indeed  1 
didn't.  I  didn't  see  him  at  all.  (Begins  to  ay,)  I  don't 
know  where  he  is.  I  didn't  see  him. 

VALDEZ.     No  one  has  accused  you  of  complicity.    You 


42  THE    CUBAN    SPY 

saw  one  of  them  running  away,  did  you  ?    Which  way  did 
he  go — over  the  right  ? 

SOPHIE.     No  ;  over  the  left. 

VALDEZ.  Give  the  alarm  at  once.  He  may  be  recap 
tured. 

(JASPER  exits  with  men,  L.) 

SOPHIE.  I'm  so  glad  they  won't  catch  the  Irishman !  Oh, 
but  he's  cunning,  and  he  knows  just  how  to  kiss  a  girl ! 
(Exits,  L.) 

(Enter  JASPER  and  puerility, ^'fe^ffi  ELINQRA  in  charge. 

JASPER.  Captain,  you  "are  in  rare  luck.  Look.  Do  you 
recognize  this  person  ?  We  found  her  close  to  this  build 
ing. 

VALDEZ.  (gazes  at  her)  The  Cuban  spy ! 

^  <V  £  ELINORA.  Yes,  the  Cuban  spy  !  But  it  took  a  dozen  of 
your  "  brave  "  men  to  bring  Little  Cuba  to  their  brave  com 
mander. 

VALDEZ.  So  you  are  masquerading  in  the  costume  of  the 
Cuban  rebels. 

{/^  i/1  ELINORA.  Not  Cuban  rebels — Cuban  patriots;  men  striv 
ing  to  gain  independence  for  their  country.  I  am  not  mas 
querading,  as  you  are ;  I  am  just  what  you  see  me.  I  am 
not  a  hypocrite,  pretending  to  aid  a  cause  and  willfully  be 
traying  my  fellow-men  to  the  merciless  Spaniard. 

RICHARD.  Elinora  is  in  their  hands  !  Why  did  she  ven 
ture  here  again  ? 

VALDEZ.  You  possess  valuable  information  concerning 
the  insurgents.  What  is  their  strength  ?  Where  are  they 
at  present  ?  Give  me  a  list  of  their  leaders  and  you  are 
free  to  go. 

(^  Iff  ^  ELINORA.  Not  if  you  were  to  doom  me  to  a  death  of 
tortures.  I  am  a  Cuban,  and  I  never  betray  my  com 
panions. 

VALDEZ.     But  it  means  life  to  you. 

•    ELINORA.    I  will  never  purchase  life  with  dishonor.   You 
may  kill  me  if  you  will,  but  you  cannot  force  me  to  speak. 

VALDEZ.  (crosses  to  c.)  Were  you  not  a  woman  I  would 
strike  you  to  my  feet. 

L  *  /*  ELINORA.  And  if  you  were  a  man  you  wouldn't  threaten 
a  woman. 

VALDEZ.     Don't  tempt  me  too  far  or  I'll  forget  that  you 
are  a  woman. 
/*..''-*'  ELINORA.    That  would  be  nothing  new  to  you.    You 


THE    CUBAN    SPY  43 

sought  my  life  on  the  blockade  runner  and  encouraged 
your  ruffianly  crew  to  destroy  me. 

VALDEZ.  Silence,  or  (produces  pistol}  I'll  end  your 
career. 

ELINORA.     I  see  that,  and  I  go  you  one  better.     (Levels    // 
revolvers  at  VALDEZ.)    Brave  men  !    (Laughs.)    You  shrink 
from  a  woman.     The  first  one  who  makes  a  movement  I 
toward  his  belt  dies  upon  the  spot.     Place  that  weapon/ 
upon  the  floor!     (VALDEZ  does  so.)     And  you  (to  JASPER) 
follow  suit.     (She  compels  them  to  place  weapons  upon  the 
floor.     Soon  as  all  have  laid  arms  upon  the  floor,  PHKLIM, 
attired  as  counterpart  of  LOPEZ,  staggers  in  L.     He  makes 
his  way  toward  ELINORA,  and  behind  her  as  she  is  command-  ^^ 
ing  the  guerillas  to  lay  down  their  arms.     Soon  as  VT&bEZ 
sees  LOPEZ  he  becomes  reassured} 

VALDEZ.     Seize  her,  Lopez,  quick!     Disarm  her! 

PHELIM.  I'm  not  Lopez,  but  Phelim  McNab,  at  your  serv 
ice.  (Throws  off  hat  and  shows  features}  I'm  with  the 
Cuban  spy.  (Levels  pistol  at  them} 

VALDEZ.    Tricked  again  !  and  by  these  Americans ! 

PHELIM.    Make   way   there,   you    yaller-faced    gorrillas. 
Pick  up  the  artillery,  Elinora  !  (She  picks  up  weapons}  Now, 
then,  retreat  in  good  order,  with  your  face  to  the  foe  ! 
.^ELINORA.    And  if  harm  comes  to  the  American  prisoner      J  l 
we'll  burn  down  this  building  and  every  Spaniard  in  it.     / 
Phelim !  away  for  our  friends  while  I  hold  these  brave  men 
at  bay ! 

PHELIM.  Don't  take  your  eyes  off  of  them.  Pop  them 
over  if  they  look  cross-eyed!  We  can  lick  a  million  of 
consumptive  monkeys  like  this.  Oh,  but  you're  a  pudding 
for  us.  (Exits  L.) 

ELINORA.    I  will  be  at  this  door;  make  but  a  single  hos-     J 
tile  movement  and  I'll  fire.     The  Cuban  band  of  patriots    ' 
are  close  at  hand.   Harm  Richard  Carson  at  your  peril !  the 
Cuban  spy  is  still  your  master!    (She  exits  L.,  covering  VAL 
DEZ  and  his  followers  with  her  revolvers  as  she  exits  backing 
off;  then  she  closes  the  door,  L.) 

VALDEZ.  Why  do  you  all  stand  petrified !  Are  you  all 
afraid  of  a  woman  ? 

JASPER.  Captain,  you  didn't  appear  to  be  any  too  anx 
ious  to  face  those  revolvers  yourself.  The  girl  is  desperate 
and  she  meant  business. 

VALDEZ.  She  has  taken  our  arms  and  she  says  the  rebels 
are  close  by. 

JASPER.  Our  arms  are  not  all  gone !  (LITTLE  CUBA  is 
seen  at  grated  window  in  RICHARD'S  room} 


44  THE    CUBAN    SPY 

VALDEZ.  Not  all  gone  ?  Where  have  you  enough  to  arm 
your  men  ? 

JASPER.  In  the  prisoners'  room  !  There  are  rifles  loaded 
and  ready  for  use. 

VALDEZ.    Loaded  and  ready  for  use  ? 

JASPER.    I  loaded  them  myself. 

(By  this  time  ELINORA  has  entered  RICHARD'S  room.  She 
motions  Jiim  to  be  quiet,  and  searching  in  a  corner  sees  the 
rifles  stacked  behind  some  bags  and  boxes  L.  u.  corner?) 

VALDEZ.    Then  I  will  put  them  into  immediate  use. 
JASPER.    To  repel  the  attack  ? 

VALDEZ.  No  —  to  shoot  that  American  dog.  That  will  be 
one  less  standing  in  my  way. 

(During  this  conversation  ELINORA  is  seen  to  remove  the. 
cartridges  from  the  rifles  and  cast  them  away.) 

JASPER.  Then  the  quicker  you  carry  out  your  threat  the 
better. 

(Soon  as  possible  ELINORA  unties  RICHARD'S  arms.  She  has 
barely  time  to  do  this  when  JASPER  is  at  the  door  unlock 
ing  it.) 

J^ELINORA.  (to  RICHARD)  Fear  not  —  friends  are  near  you. 
(She  hides  behind  bags  up  stage  ;  the  door  is  opened  by 
JASPER.) 

VALDEZ.    Take  those  rifles  and  shoot  down  the  American. 

(Rifles  are  passed  out  by  JASPER  to  men  who  aim  at  RICHARD 
as  they  stand  at  open  door?) 

VALDEZ.  The  Cuban  spy  vowed  to  save  you  !  Let  her 
do  so  now,  my  bold  American.  (To  men)  Take  good  aim 
—Fire  ! 

(Music.  Guns  miss  fire.  RICHARD  instantly  shows  that  his 
hands  are  free,  and  he  produces  a  pistol  from  bosom. 
ELINORA  jumps  out  from  hiding  place  with  brace  of  re 
volvers  leveled  at  VALDEZ  and  men) 


Surrender,  in  the  name  of  the  Republic  of 
Cuba  and  the  United  States  of  America. 

(PHELIM  and  CARL,  with  guns,  appear  from  L.,  thus  hem- 
ming  in  the  Spaniards  and  placing  them  between  two  fires. 
PHELIM  and  CARL  dancing  with  joy.  ELINORA  and  RICH 
ARD  in  room,  R.,  keeping  ruffians  in  c.) 

CURTAIN 


ACT  IV 

SCENE. — Handsome  parlor.     Hotel  at  Pinar  del  Rio.     See 

scene  plot. 

(Music.    Enter  RICHARD  ;  evening  dress.} 

RICHARD.  The  American  Minister  is  to  call  and  receive 
a  delegation  of  American  citizens  here  in  Cuba,  to  investi 
gate  the  outrages.  A  reception  is  to  be  given  in  his  honor, 
and  I  dare  say  that  for  the  present  our  troubles  are  over. 

(Enter  CARL,  door  c.,  extravagant  missjit  suit.) 

CARL.  Ah !  Mr.  Carson,  we're  right  in  it  now.  When 
they  see  me  they'll  drop  dead.  I  hunted  all  over  this  place 
for  a  nice  suit,  and  I  got  it. 

RICHARD.     You  look  very  well,  indeed. 

(PHELIM  heard  outside) 

PHELIM.  You  needn't  bother  yourself;  I'll  find  the  par 
lor.  This  isn't  the  first  time  I've  been  in  a  hotel,  by  a 
"  darn  site."  (Enters  door,  c.,  eccentric  full  dress.)  Hello, 
fellers !  How's  my  togs  ?  I  don't  feel  at  home  in  these 
dude  fixings.  It's  like  being  in  a  straight  jacket.  What's 
going  on  here  to-night  ?  (Sees  CARL)  Ah !  get  on  to  the 
bag  of  oats  !  Now  you  do  look  like  a  bologna  sausage. 

CARL.     Well,  I  don't  look  like  a  whiskey  barrel,  anyway. 

PHELIM.  Indeed  you  don't,  for  if  you  did  I'd  tap  you  in 
a  minute.  But  tell  us,  Mr.  Carson,  where's  the  General  ? 

RICHARD.     The  General? 

PHELIM.  Yes,  the  General!  Elinora,  the  Cuban  spy. 
The  one  that  got  us  out  of  all  the  scrapes  ! 

RICHARD.     She'll  be  here  in  a  moment. 

PHELIM.  I  hope  she's  not  flirting  with  any  of  those 
Spanish  galoots. 

RICHARD.  At  present  the  Spaniards  are  far  from  this 
town.  This  place  is  in  the  hands  of  a  few  patriot  Cubans. 
After  defeating  Valdez  and  placing  him  in  the  hands  of  the 
Cubans,  we  came  here  to  take  part  in  the  American  min 
ister's  investigations.  He  is  expected  here  shortly. 

PHELIM.  I  don't  care  for  him!  I  want  to  see  "our" 
General.  I've  gone  to  a  lot  of  trouble  to  get  fixed  up  to 
dazzle  her,  and  I'm  here  to  dazzle. 

RICHARD     You  shall  be  gratified,  for  here  she  is. 

45 


s  C' 


46  THE   CUBAN    SPY 

(Music.  ELINORA  enters  in  evening  costume,  door,  c. 
Comedians  have  business  of  extravagant  bowing  R.  and  L., 
kicking  up  their  heels?) 

PHELIM.  My,  oh,  my  !  But  ain't  she  pretty  as  a  hum 
ming-bird  ! 

CARL.     She's  beautiful  as  my  picture  ! 

PHELIM.  Shut  up!  What  do  you  know  about  beauty, 
anyway  ? 

/^ELIXORA.  Gentlemen,  I  am  pleased  to  seeyou,  but  wish 
to  say  this  :  Do  not  fancy  that  we  rest  here  in  security,  for 
scouts  have  been  coming  in  and  going  out  of  the  city  all  the 
afternoon.  It  may  be  that  Weyler's  men  have  approached 
the  city. 

PHELIM.  That's  all  right.  I  can  fight  in  these  togs  just 
as  well  as  I  can  in  my  working  clothes. 

CARL.     Yes  :    I  don't  care  if  I  get  shot  all  dressed  up  ! 

RICHARD.  With  your  permission  I  will  go  at  once  and 
investigate.  Come,  Carl  —  I  may  need  you  !  Elinora  !  You 
will  kindly  excuse  me  !  (Exits,  door,  c.) 

CARL.     You  will  kindly  excuse  myself!    (Bows  and  exits.) 

PHELIM.  The  dude  clothes  will  drive  that  Dutchman 
crazy  !  (sits  in  chair)  My,  but  I  can't  keep  my  eyes  off  of 
you  —  you  look  so  pretty  ! 

(Enter  VALDEZ,   R.    i    E.      He  pauses  as  he    recognizes 
ELINORA.) 

VALDEZ.  So  —  we  meet  again,  but  the  meeting  is  not 
quite  unexpected! 

ELINORA.     Why  are  you  here  ? 

VALDEZ.     To  appear  before  the  American  minister  and 
refute  the  fabrications  that  will  be  told  him. 
i"  ELINORA.     You  are  very  bold  to  venture  here.     Are  you 
aware  that  I  can  deliver  you  into  the  hands  of  General 
Maximo  Gomez? 

VALDEZ.  Indeed!  And  if  you  do  so  you  will  be  kind 
enough  to  say  that  you  found  me  in  the  regular  service  ol 
the  Spanish  government. 

js  ELINORA.  I  will  do  nothing  of  the  kind.  You  made 
war  upon  the  poor  Cubans  as  pirates  upon  the  high  seas. 
You  lack  the  manhood  to  enlist  in  the  Spanish  regulars. 
You  prefer  to  be  a  robber,  a  villain,  and  to  fight  as  savages. 
You  must  take  the  consequences. 

VALDEZ.     But  who  can  prove  that  I  was  not  an  enlisted 
man  ? 
/^ELINORA.     I   can!    I    know  you,  Roderigo  Valdez.    I 


THE    CUBAN    SPY  4? 

know  you  thoroughly.  When  Richard  Carson  was  in  your 
power  you  made  ready  to  shoot  him  down  like  a  dog. 
When  you  discovered  me  upon  the  blockade  runner  you 
sought  my  life.  You  have  never  spared  any  one  who  fell 
into  your  hands.  You  are  a  traitor  to  the  cause  of  Cuba. 
You  have  betrayed  every  leader  of  our  struggling  army. 
You  showed  no  mercy.  So  expect  none  in  return. 

PHELIM.  Hurrah!  That's  the  kind  of  talk.  When  St. 
Patrick  drove  all  the  snakes  out  of  Ireland  some  of  them 
got  over  here,  and  I'll  bet  that  his  great  grandfather  was  an 
anaconda  or  a  sea  serpent,  or  the  daddy  of  all  the  snakes. 

VALDEZ.     Very  well.     1  am  forearmed. 

^»  ELINORA.     Phelim,  mount  the   horse  which  is    saddled     j  & 
and  ready  in  the  court-yard.     Take  this  message  to  General     *  / 
Gomez.     (Gives  paper  to  PHELIM.     CARL  appears  at  door.} 

PHELIM.  But  I  never  rode  a  horse  in  all  my  life.  Let 
the  Dutchman  go. 

CARL.  Oh,  no!  You  don't  catch  me  on  the  back  of  a 
horse. 

PHELIM.  All  right.  I'll  chance  it.  Keep  your  eye  on 
that  villain,  CARL.  Good-bye  Helen  Matanzas.  Your 
molasses  obeys  you.  (Exits  c.  D.) 

CARL.  Is  that  Irishman  going  to  ride  a  horse  ?  Good 
bye,  Irishman.  (Stands  at  window  and  speaks?)  There  he 
goes.  He's  climbing  on  the  horse's  back.  Now  he's  try 
ing  to  hold  on.  Now  the  horse  is  trying  to  stand  on  his 
head.  Now  the  horse  is  dancing  a  jig — and — and  now 
they're  off.  (Horse  imitation  of  clattering  hoofs  and  they 
die  away.) 

VALDEZ.  (aside)  She  has  sent  a  message  to  Gomez.  If  it 
reaches  him  and  I  am  taken,  all  is  lost.  I  must  warn  my 
followers.  (Aloud)  I  leave  you  to  your  excellent  friend.  I 
assure  you  that  we  will  meet  again  shortly. 

(Exits  R.  i  E.,  bowing  coldly} 

CARL.     Go  to  the  donner  und  blitzen ! 
*  ELINORA.     Carl,  follow  that  man !     See  where  he  goes 
and  whom  he  meets.     Don't  lose  track  of  him. 

CARL.     I'll  stick  to  him  like  a  porous  plister. 

(Exits  R.  i  E.) 

ELINORA.  I  must  warn  Richard  at  once.  Valdez  is  here 
for  mischief. 

(Exits  L.  i  E.    Enter  BRIDGET,  c.  D.) 
BRIDGET.    Well,  it  seems  that  the  more  I  learn  the  less  I 


48  THE    CUBAN    SPY 

know.  And  the  further  I  walk  the  more  I  travel.  I've  been 
on  the  track  of  Phelim  McNab  and  caught  him,  and  when 
I'd  catch  him  I  wouldn't  have  him.  I  never  saw  such  a  lot 
of  contradictions  in  all  my  life,  and  here  I  am  trying  to  catch 
a  runaway  lover  that  as  soon  as  I  catch  him  I  haven't  got 
him.  I'll  leave  Cuba,  for  I'm  disgusted  with  everything  and 
everybody ! 

(Enter  RICHARD,  D.  c.) 

RICHARD.  I  must  confess  that  I  am  in  the  toils  of  Cupid 
at  last.  Elinora  has  been  far  more  dangerous  than  the  bul 
lets  of  the  Spaniards,  for  her  eyes  have  reached  my  heart 
and  made  me  a  willing  prisoner. 

(BRIDGET  comes  down  behind  him  and  suddenly  throws  her 
arms  around  him.) 

BRIDGET.  Oh,  Captain  dear !  You're  just  the  very  one  to 
aid  a  poor,  distressed  woman  whose  heart  is  breaking,  and 
all  on  account  of  love  ! 

RICHARD.  Yes,  my  good  woman,  I'm  willing  to  aid  you, 
but  not  quite  so  willing  to  accept  this  demonstration  of  affec 
tion.  (Attempts  to  release  himself?) 

BRIDGET.  Any  port  in  a  storm  !  My  heart  needs  conso 
lation,  and  I  can't  bear  to  be  alone  in  my  grief. 

(ELINORA  enters,  L.) 

fr  ELINORA.  Ah,  ha !  My  fickle  Captain,  I  have  caught  you, 
have  I  ?  Keep  right  on.  Don't  mind  me.  Don't  let  me  put 
a  stop  to  your  love-making.  (Aside)  I'd  like  to  scratch  her 
eyes  out. 

RICHARD.  But  I  assure  you  that  I  am  not  in  the  act  of 
love-making.  Please  don't  go.  ( To  BRIDGET)  Remove  your 
arms.  What  do  you  mean  ? 

BRIDGET.  I  want  somebody  to  protect  me,  and  you're 
just  the  one !  (RICHARD  removes  her  arms.} 
;--•  ELINORA.  I  did  not  know  that  you  could  find  time  for 
love-making  while  surrounded  by  our  enemies.  But  pray, 
don't  stop  on  my  account.  I  wouldn't  for  the  world  inter 
fere  between  sweethearts !  It  was  so  mean  of  me  to  come 
in  so  abruptly — but  I  couldn't  help  it. 

RICHARD.  Why  will  you  misunderstand  everything  and 
tantalize  me  in  this  manner? 

>  ELINORA.  You  seem  to  enjoy  the  misunderstanding  very 
much,  and  I'm  sure  it  is  not  very  tantalizing  to  have  a  lady's 
arms  about  your  neck,  is  it  ?  (Laughs.)  Ah  !  Americans  are 
such  peculiar  people. 


THE   CUBAN    SPY  49 

BRIDGET.  I  came  over  to  Cuba  to  find  a  husband,  and  I 
won't  go  back  without  one. 

ELINORA.    The  Captain  will  make  a  most  lovable  one,    >  :> 
I'm  sure.     But  go  on — arrange  for  the  wedding — and  the 
honeymoon.     I  wish  you  joy,  Mr.  Carson  ! 

RICHARD.  Enough  of  this  nonsense  !  (/^BRIDGET)  Go 
and  seek  your  promised  husband  and  do  not  annoy  me 
again.  ( Crosses,  R.) 

BRIDGET.  Oh,  very  well !  There's  just  as  good  fish  in 
the  sea  as  ever  was  caught — but  I'm  not  going  to  spend  all 
my  days  a  fishing !  Farewell  to  you.  I'll  find  my  Phelim 
McNab  without  the  help  of  either  one  of  you  !  You're  jeal 
ous  of  my  good  looks ;  and  the  next  time  I  look  for  conso 
lation  I'll  not  come  to  you.  If  you  see  Mr.  McNab,  "Just 
tell  him  that  you  saw  me.' '  (Exits  c.  D.) 

^  ELINORA.     By    the    way,   do    you    know    that    danger    %  Ip 
threatens. 

RICHARD.  Perhaps  it  is  an  idle  rumor.  So  far  I  have 
heard  nothing  to  alarm  us. 

i  -'ELINORA.  This  is  no  time  for  surmises.  I  have  sent  a 
message  to  General  Gomez  for  help  ;  meanwhile  the  pris 
oners  must  be  looked  after.  Valdez  is  a  most  dangerous 
man,  either  as  a  captive  or  at  liberty. 

RICHARD.    Not  half  as  dangerous  as  you  are. 

*-  ELINORA.    Or  Bridget  Monahan !     I  dare  say  you  are     ./  «?~~ 
lonesome,  now  that  she  is  gone  and  your  love-making  is  at 
an  end.  (Crosses  to  sofa,  R.) 

RICHARD.    Please  be  serious  for  a  moment.     We  are  in 
danger  until  we  reach  the  patriot  camp.   I  ask  the  privilege 
of  remaining  with  you  to  protect  you — if  need  be,  to  die 
for  you. 
:     ELINORA.    Extends,  then,  your  devotion  so  far  ? 

RICHARD.  It  is  a  man's  duty  to  protect  a  woman — at  all 
places — under  all  circumstances. 

ELINORA.    Is  there  no  other  reason  ? 

RICHARD.  Do  you  wish  me  to  be  perfectly  frank  with  you  ? 

ELINORA.  Does  not  the  danger  which  surrounds  us  war 
rant  naught  but  candor  ? 

RICHARD.  Then  it  will  be  a  pleasure  to  defend  you — for, 
Elinora,  I  love  you.  (Crosses  to  L.) 

•  ELINORA.  You  love  me  ?  You  know  nothing  concerning 
me.  You  know  me  only  as  Elinora — one  who  pursues  a 
villain  to  avenge  a  father's  murder.  You  know  me  as  the 
Cuban  spy — a  waif — a  spy  in  the  cause  of  Cuba  to  further 
my  plans  and  to  aid  my  country.  Yet  you  tell  me  that  you 
love  me  ? 


5O  THE    CUBAN    SPY 

RICHARD.  I  do.  You  are  dearer  to  me  than  life.  (Puts 
arm  about  her.} 

KELINORA.     When  retribution  has  overtaken  my  father's 
destroyer,  I  will  say,  Richard  Carson,  I  love  you ! 

(Enter  BRIDGET  at  back,  L.) 

BRIDGET.  Ah,  ha !  What  do  I  see  ?  Oh,  don't  stop  on 
my  account.  I  wouldn't  for  the  world  interfere  between 
sweethearts.  It  was  mean  of  me  to  bounce  in  here  so  dis 
reputably,  but  I  couldn't  help  it.  Arrange  for  the  wedding 
and  the  honeymoon.  Americans  are  such  peculiar  people. 
(RICHARD  and  ELINORA  exit,  L.,  laughing^  Everybody  is 
going  daffy  around  here.  There's  another  poor  man  gone  ! 
Oh,  my  !  oh,  my !  what  poor  luck  I  have  with  the  men.  I 
wish  I  could  find  a  rabbit's  foot  for  luck  !  (Exits,  L.) 

(Enter  PHELIM  at  back.) 

PHELIM.  I  succeeded  all  right.  I  met  one  of  the  Gen 
eral's  men  coming  towards  this  stockade,  and  I  gave  him 
the  message,  and  I  walked  back.  I  wouldn't  ride  on  that 
horse's  back  for  a  fortune.  I'm  not  a  circus  rider,  by  any 
means. 

(Enter  SOPHIE,  R.  i  E.) 

SOPHIE.  Ah,  there  you  are  !  (Runs  to  him)  I've  been 
looking  for  you  everywhere  since  you  left  the  old  sugar- 
house.  (Puts  arm  around  him.)  I  was  so  lonesome  that  I 
had  to  start  out  to  find  you.  You  don't  seem  glad  to  see 
me. 

PHELIM.     Oh,  yes,  I  am.     I'm  as  glad  as  if  I'd  lost  a  leg. 

SOPHIE.     And  I  came  so  far  to  see  you  ! 

PHELIM.  Of  course  you  have,  and  I  was  just  going  to 
start  on  a  trip  to  see  you.  (Enter  BRIDGET  at  back,  L. 
Stands  horrified  at  seeing  them)  And  I  was  about  to  say — 
(Discovers  BRIDGET)  Oh  !  Holy  Moses  and  blue  blazes  ! 

SOPHIE.     Where  ? 

PHELIM.  (L.  c.,  points  toward  BRIDGET.  SOPHIE  screams 
and  faints  in  his  arms.  BRIDGET  comes  down  c.) 

BRIDGET.  Who's  that  woman  you're  holding  in  your 
arms  ? 

PHELIM.     Which  arms  ?    Which  woman  ? 

BRIDGET.     That  woman  there  ! 

PHELIM.  (points  to  SOPHIE)  Oh,  this  !  You  mean  this 
woman  here  ?  Well,  well — this  woman  here  ? 

BRIDGET.  Yes,  I  mean  that  woman  there.  How  came 
she  there  ? 


THE    CUBAN    SPY  5! 

PHELIM.  Yes  ;  how  came  she  there  !  This  woman  came 
here,  and  that's  how  she  got  there — and  there  she  is,  and 
here  she  is. 

BRIDGET.     Who  is  she  ?    I've  asked  you  ! 

PHELIM.  Who  is  she  ?  Oh !  you  want  to  know  who  she 
is.  Oh !  she's  a  she — can't  you  see  she's  a  woman  ? 

BRIDGET.  I  ask  you  for  the  last  time,  Who  is  that 
woman  in  your  arms  ? 

PHELIM.  (aside  to  SOPHIE)  It's  a  crazy  woman — we'll 
have  to  humor  her.  (Aloud)  This  woman,  madam,  is — is — 
my  sister  Sadie. 

SOPHIE.     Not  Sadie— Sophie. 

PHELIM.     Yes — Sophie — Sadie  ! 

BRIDGET.  Your  sister!  You  never  told  me  you  had  a 
sister. 

PHELIM.  Well,  I  didn't  know  it  myself.  You  see  I  was 
away  from  home  when  it  happened ! 

BRIDGET.     So  this  is  your  sister  ? 

PHELIM.     Yes — my  own  dear  sister  Stella  ! 

BRIDGET.     Stella !  You  said  her  name  was  Sophie  Sadie  ! 

PHELIM.  So  it  is — Sophie  Sadie  Stella.  She  can  have 
as  many  names  as  she  likes.  It's  none  of  my  business. 

BRIDGET.     Well,  how  old  is  your  sister  ? 

PHELIM.  She's  older  than  me — I  mean  I'm  younger  than 
she  is,  of  course.  You  see  I'm  twenty-four,  and  Sarah  is 
twenty-one. 

BRIDGET.  Sarah !  I  thought  you  said  her  name  was 
Sophie  Sadie  Stella  ? 

PHELIM.  So  it  is — Sophie  Sadie  Stella  Sarah!  Oh, she's 
got  names  to  burn  !  She's  got  lots  of  names — and  that's  all 
she's  got.  Now,  you  see,  when  Susan  was  born — 

BRIDGET.     Susan  !     Susan  !     Is  her  name  Susan  now  ? 

PHELIM.  No — not  Susan  Now — Susan  McNab — Sophie 
Sadie  Stella  Sarah  Susan — now  do  you  see  ? 

BRIDGET.    Yes,  I  see. 

PHELIM.     Well,  that's  more  than  I  do  ! 

SOPHIE.     Who  is  this  woman  ! 

PHELIM.  (aside  to  SOPHIE)  Hush!  A  crazy  woman! 
She  has  an  idea  that  I'm  in  love  with  her.  We'll  keep  it  up  ! 

BRIDGET.     What  are  you  whispering  about  ? 

PHELIM.     Whispering  here  to  Salantha  ! 

BRIDGET.  Salantha !  You  just  said  her  name  was  a 
whole  lot  of  names  and  Susan  ! 

PHELIM.  Of  course  I  did — but  we  call  her  Salantha  for 
short.  Salantha  is  the  Irish  for  Susan, 

BRIDGET.    Where  was  Salantha  born  ? 


52  THE   CU*AN    SPY 

PHELIM.    At  home,  of  course  ! 

BRIDGET.     I  mean  where,  an«l  when  ? 

PHELIM.     Ask  her  yourself — *he  was  present  at  the  time 

I  wasn't. 

BRIDGET.     Was  she  born  in  li  dand,  or  wasn't  she  ? 

PHELIM.  I  think  she  was  borr  away  from  Ireland — I'm 
not  sure.  You  see  I  was  over  in  America  at  the  time,  and 
I  got  a  telegraph,  saying — "  you'v-e  got  a  sister,  and  it's  a 
female !" 

BRIDGET.  I  think  you're  telling  me  a  lie,  and  I'll  find  out 
for  myself.  Stand  out  of  my  way,  and  I'll  investigate  this  ! 

PHELIM.  Go  ahead!  Investigations  never  amount  to 
anything. 

BRIDGET.  Well,  I'll  make  this  amount  to  something  or 
I'll  break  every  bone  in  your  body. 

(BRIDGET  goes  over  to  SOPHIE  in  a  very  threatening  manner?) 

PHELIM.  Now,  ladies,  don't  fight  over  me  as  if  I- was  a 
bone  or  a  mouse. 

BRIDGET.  I  want  to  know  by  what  right  you  allow  this 
man  to  put  his  arms  around  you.  He's  not  your  brother, 
and  you're  not  his  sister. 

SOPHIE.  And  by  what  right  do  you  question  me  about 
this  handsome  man  ? 

BRIDGET.     Because  he  promised  to  marry  me. 

SOPHIE.     He  promised  the  same  thing  to  me. 

BRIDGET.  Oh,  the  bigamist — the  trigamist !  I'll  settle  it 
right  here. 

PHELIM.  Settle  it  among  yourselves.  I've  got  a  divorce 
from  you  both.  (He  rushes  up  stage  and  escapes  c.  D.  Both 
women  chasing  after  him  and  shouting,  "  Stop  him  !  "  "Head 
him  off  !"  "  Stop  him  /  "  "  Stop  our  husband  /  "  etc.,  and  amid 
much  bustle  exit  after  him,  pushing  each  other  out  of  the  way 
to  overtake  PHELIM  and  get  him  first?) 

(CARL  enters,  R.  i  E.) 

CARL.  I  guess  that  feller  won't  make  us  any  trouble. 
He  is  sitting  on  the  piazza  smoking  a  cigaroot.  I've  got 
somebody  watching  him,  all  right. 

(Enter  ELINOR  A,  R.) 

-    ELINORA.  (L.  c.)  Is  that  you,  Carl  ? 

CARL.  Oh,  she  calls  me  Carl.  Lie  still,  my  pilpertating 
heart,  lie  still.  (Aloud}  Yes,  it  is  your  own  Carl — your 
Carlo.  Oh,  Helen  Matanzas,  molasses  taffy,  now  is  my 


THE   CUBAN    SPY  53 

chance  to  declaration  my  love  to  you.  Have  pity  on  a 
love-sick  Dutchman.  This  is  my  first  offense.  I'm  green 
in  the  business.  Don't  fall  in  love  with  that  Irishman. 
The  Irish  want  everything  they  see  in  this  world. 
/-'^ELINORA.  Arise !  I  promise  you  that  I  will  not  enter 
tain  the  Irishman's  proposals  of  marriage.  (Crosses  to  L.) 

CARL.  Well,  if  I'm  going  to  be  the  happy  man,  why, 
molasses,  give  taffy  just  one  little  kiss. 

/    ELINORA.     Blindfold  yourself,  Carl ;  that's  the  only  way 
I'll  consent. 

CARL.     All  right,  make  me  blindfolded.     (She  blindfolds 
CARL  with  kerchief.) 
I/  ELINORA.     Now  then,  Carl,  earn  your  kiss. 

(She  eludes  him  and  exits  laughing,  L.  i  E.   As  he  is  groping 
about  BRIDGET  e?iters  L.  u.  E.     She  is  seized  by  CARL.) 

CARL.  Now  I've  got  you,  molasses,  and  I  want  a  dozen 
kisses.  (Begins  to  kiss  her;  tears  off  kerchief,  sees  his 
mistake,  utters  a  yell  of  surprise  and  dashes  off,  C.  D,,  pur 
sued  by  BRIDGET,  shouting.  "Give  me  the  dozen") 

(Enter  PHELIM,  L.  i  E.) 

PHELIM.  It's  worth  a  man's  life  to  be  around  loose  in  this 
part  of  the  country.  The  women  are  crazy,  I  believe.  If  1 
had  my  way  they'd  all  be  put  behind  locks  and  bars  to  keep 
them  quiet.  I  imagine  I  see  a  woman  behind  every  bush  or 
tree  with  a  net  to  catch  me.  Bridget's  the  most  persistent 
woman  I  ever  saw. 

(Enter  CARL,  running,  c.  D.,  and  bumps  into  PHELIM.) 

CARL.  Oh,  it's  you,  is  it?  I  thought  it  was  that  Irish 
woman  !  She's  here  again. 

PHELIM.  I  know  she's  here.  I've  just  slid  out  of  her 
hands  like  an  eel. 

CARL.  By  jiminy,  so  did  I !  But  here  she  comes  on  the 
double  quick. 

PHELIM.  So  she  is.  What's  to  be  done  ?  Get  me  out 
of  this  scrape  and  I'll  never  forget  you. 

CARL.     Lay  down  quick  and  pretend  that  you're  dead. 

PHELIM.  First  you  have  me  crazy,  now  you  want  me 
dead. 

CARL.  If  you  don't  die  now  she'll  catch  you,  and  you'll 
be  dead  for  a  long  time.  Quick  !  Die— die !  (PHELIM  lies 
down,  R.  c.  Puts  chalk  upon  face.) 

PHELIM.  I'm  dead!  Shovel  the  ground  all  over  me  !  Say, 
Dutchy,  see  that  my  grave's  painted  green,  will  you  ? 


54  THE    CUBAN    SPY 

{Enter  BRIDGET,  c.  D.     CARL  begins  to  cry.) 

BRIDGET.  Well,  what's  the  matter  wid  you  now?  Where's 
my  kisses  ? 

CARL.     Look  at  your  feet !     Look  at  your  feet ! 

BRIDGET.    What's  the  matter  with  my' feet? 

CARL.     On  the  ground.   Your  feet  is  on  the  ground. 

BRIDGET,  (sees  PHELIM)  Murder !     What's  this  ? 

CARL.  He's  shooted !  There's  an  Irish  angel  in  heaven. 
(She  kneels  beside  PHELIM.) 

BRIDGET.  My  poor,  darling,  dead  Phelim !  How  natural 
he  looks !  Did  you  see  him  die  ?  What  were  his  last 
words  ? 

CARL.  He  said,  If  you  ever  see  Bridget  tell  her  I'll  meet 
her  in  another  world. 

PHELIM.     What  a  Dutch  liar ! 

BRIDGET,  (cries)  I  knew  he  wouldn't  forget  me  !  Oh,  Carl, 
my  poor  heart  is  breaking!  I'm  a  widow  before  I'm  mar 
ried  !  Poor  man  !  He  went  crazy  about  me,  and  now  he's 
dead  and  will  never  move  again  ! 

(As  she  is  crying  to  CARL,  CARL  puts  his  arms  around  her  to 
soothe  her.     PHELIM  looks  up) 

CARL.  Oh,  I  wouldn't  cry  about  him.  He  ain't  worth 
it.  He  ain't  the  only  ace  in  de  pack.  It's  a  good  thing 
he's  dead. 

PHELIM.  (aside)  You  Dutch  villain,  I'll  murder  you. 
(CARL  slyly  kicks  PHELIM.) 

CARL,  (aside)  Shut  up  !  You're  dead !  Stay  dead.  ( To 
BRIDGET.)  Lay  your  head  on  the  bosom  of  a  handsomer 
man.  Ah !  Bridget !  Let  me  console  you.  You  are  just 
the  kind  of  a  woman  that  would  suit  me.  (Embraces  her 
and  kicks  PHELIM  who  is  sitting  up  and  threatening  CARL 
with  motions,  etc.  BRIDGET  turns  as  she  speaks  and  dis 
covers  PHELIM  in  a  different  position.  She  screams  with  as 
tonishment.) 

BRIDGET.    Look  there !  Look  there  !  He's  lying  different. 

CARL.  Certainly.  He's  an  awful  liar.  He'd  lie  all  the 
time.  You  see,  crazy  people  get  all  twisted  up  when  they 
die,  and  the  first  thing  you  know  he'll  be  all  tied  up  in  a 
knot.  Let  him  lay  there,  and  de  crows  will  eat  him  up. 

BRIDGET.  No !  I'll  have  him  buried.  I'll  run  and  get  a 
grave-digger  and  at  the  same  time  make  arrangements  for 
our  marriage.  (PHELIM  changes  again.)  See  !  It's  turned 
around  again ! 

CARL.     The  Irish  die  hard.     They've  got  nine  lives  like 


THE   CUBAN    SPY  55 

a  cat.  But  he's  dead  for  the  last  time.  Oh  !  my  darling ! 
Kiss  your  little  chickabiddy  on  de  lip.  Oh  !  my  dear  wife 
that  is  to  be.  (Business  of  kissi?ig  her,  and  PHELIM  yells 
"Break  away  "  and  lies  flat,  BRIDGET  turns  and  notes  posi 
tion^) 

BRIDGET.  Now,  then,  wait  for  me  here,  and  we'll  have 
him  buried  and  you'll  be  my  husband  as  quick  as  the  work 
can  be  done.  (Starts  to  go  R.  i  E.  CARL  calls  to  her.} 

CARL.    One  more  sweet  kiss ! 

(BRIDGET  runs  to  his  arms,  hugs  him  and  starts  off  R.,  and 
then  turns  and  comes  to  him  again.  This  is  done  to  enable 
PHELIM  to  partially  rise  and  throw  himself  flat  again  as 
BRIDGET  returns.  This  is  done  several  times  and  BRIDGET 
runs  out  R.  i  E.,  CARL  bidding  her  to  "  hurry''  etc.  Soon 
as  she  is  out  PHELIM  jumps  to  his  feet  in  great  anger.) 

PHELIM.  So  I'm  dead,  am  I !  I'll  feed  the  worms,  will  I ! 
(Produces  revolver?) 

CARL.  Go  get  buried!  You  don't  cut  any  ice-cream 
around  here  any  more. 

PHELIM.  I'll  show  you  whether  I  do  or  not.  There'll  be  a 
Dutch  angel  climbing  up  to  the  clouds.  (Fires  at  CARL,W/IO 
yells  and  hops  as  if  shot  m  the  foot.  Short  and  funny  chase 
around  stage.  CARL  runs  off  L.  u.  E.  BRIDGET  returns  R. 
i  E.  and  meets  PHELIM  c.  She  screams?) 

BRIDGET.  His  ghost!  his  ghost!  (And  scampers  off, 
fainting  and  screaming,  R.  i  E.  PHELIM  tumbles  backward 
from  sudden  meeting,  and  he  scampers  off  L.  i  E.  ) 

(Music.  Several  shots  fired  outside  of  the  hotel.  VALDEZ, 
JASPER,  LOPEZ  and  guerrillas  enter  L.,  with  ELINORA 
and  RICHARD,  prisoners,  door,  c.) 

VALDEZ.  A  very  clever  ruse,  and  it  succeeded  admirably. 
We  have  captured  the  town.  Your  late  prisoners  are  now 
your  masters.  The  American  dies  first. 

ELINORA.  No — no — spare  his  life.  'Twas  I  who  am  to 
blame  for  his  participation  in  these  matters.  Let  me  be  the 
one  to  suffer.  Release  him  and  take  my  life.  See,  I  kneel 
to  you !  (K?ieels.} 

RICHARD.  Arise  !  Kneel  to  no  one,  save  Heaven.  Kneel 
not  to  a  craven  cowardly  dog  for  a  million  lives. 

ELINORA.  Harken  not  to  him,  Roderigo  Valdez,  but 
listen  to  my  pleadings  for  his  life. 

VALDEZ.     Then  you  love  this  meddling  American  ! 


56  THE    CUBAN    SPY 

'    ELINORA.     I  do ;  I  do  love  him  ! 

VALDEZ.  Enough  !  No  power  on  earth  could  save  him 
now.  The  message  you  sent  to  General  Gomez  will  fail  of 
its  mission,  as  I  have  a  band  in  ambush  to  receive  the 
patriots  when  they  come  this  way ! 

iS  ELINORA.     Will    nothing    tempt    you    to    release    this 
man  ? 

VALDEZ.  No.  There  is  a  deeper  reason  than  his  inter 
ference  why  I  should  destroy  him.  Lopez,  take  a  squad  of 
men  with  you  to  the  court-yard  and  convey  the  American 
to  a  spot  where  I  see  you  from  the  window.  At  my  signal, 
shoot  to  kill ! 

RICHARD.  Cowardly  dog !  This  murder  will  be  avenged 
tenfold.  Farewell,  Elinora.  (Crosses  to  her}  Remember 
your  mission  is  to  avenge  your  father  and  the  one  who 
loved  you  so  devotedly. 

O I  fr*  ELINORA.  No,  no  !  They  must  not  take  you  from  me. 
Richard,  my  own,  I  cannot  bear  to  lose  you  now  !  (Clings 
to  him} 

VALDEZ.  Take  him  away !  (LOPEZ  and  a  soldier  take 
RiCHARD/nwz  her,  while  one  takes  her,  R.) 

RICHARD.  Elinora !  Remember !  Avenge  me  if  you 
can.  (He  is  taken  off,  c.  D.,  by  LOPEZ  and  soldiers} 

ELINORA.  (aside,  R.  c.)  If  I  can  but  gain  time  the  relief 
party  may  arrive. 

VALDEZ.  Once  before  I  gave  you  a  chance  which  you 
spurned.  I  know  your  motives  and  see  through  your  dis 
guise  and  purpose, 

/JK  /ELINORA.  I  seek  the  false  friend  who  murdered  my 
father  and  robbed  me  of  my  inheritance. 

VALDEZ.     You  will  never  find  him !     Yet  I  may  say  this 

to  you:  Here  is  a  package  of  documents  relating  to  that 

estate,  and  I  hold  them  out  to   you   as  a  tempting   bait. 

(Holds  out  papers}  What  would  you  give  to  possess  them  ? 

gs  ELINORA.     This  is  my  answer.  (Seizes  the  papers} 

VALDEZ.     Give  me  those  documents  ! 

-^  /  ELINORA.  When  I  am  dead  you  can  take  them  from  the 
hand  which  now  holds  them  !  They  are  mine,  and  I  will 
die  defending  them  to  the  last. 

VALDEZ.  This  is  quite  theatrical,  I  must  say.  Your 
lover  is  beyond  with  guns  leveled  at  his  breast,  my  men 
awaiting  the  signal  to  fire.  Quite  dramatic,  is  it  not  ?  And 
you — well,  you  know  the^fate  of  a  spy.  The  papers  you 
hold  may  give  you  a  momentary  pleasure,  but  you  are 
doomed.  One  chance  yet  remains.  Become  mine,  and  I 
spare  the  American  !  Quick — choose. 


THE    CUBAN    SPY  57 

! -'  "ELINORA.  I  prefer  death.  And  I  am  sure  that  Richard 
Carson  would  rather  die  than  see  me  wedded  to  a  coward, 
a  villain,  a  murderer  such  as  you  are  ! 

VALDEZ.  These  words  to  me !  It  is  your  last  threat ! 
(As  he  speaks  he  advances  toward  her,  holding  up  his  hand. 
She  seizes  his  hand,  screams  as  she  beholds  the  mark  in  the 
palm  of  his  hand.) 

I  ELINORA.  There  is  the  brand  I  have  sought !  The  mark 
of  the  murderer  which  I  saw  on  that  fatal  night.  You — 
you — Roderigo  Valdez — you  are  the  assassin  ! 

VALDEZ.  Curses  on  the  mark  !  I  wished  to  hide  it  for 
ever  from  your  gaze. 

*  ELINORA.  'T\vas  you,  false  wretch,  who  destroyed  my 
father,  and  cast  me  upon  the  world — penniless,  friendless 
and  homeless — while  you  enjoyed  my  inheritance  !  Villain  ! 
Traitor !  We  are  face  to  face  at  last ! 

VALDEZ.  You  have  spoken  your  death-sentence,  and 
Richard  Carson's  as  well.  You  have  discovered  my  secret, 
but  you  will  not  live  to  tell  it.  Blindfold  her  !  {A  ma?i  steps 
forward  to  blindfold  her.} 

I-  ELINORA.  Stop !  I  refuse  to  be  blindfolded.  I  wish  to 
gaze  with  my  dying  glances  upon  brave  Spaniards  who  can 
shoot  a  helpless  woman  ! 

VALDEZ.  Do  not  listen  to  her  idle  talk — do  as  I  com 
mand  !  Blindfold  her,  and  shoot  the  spy  ! 

ELINORA.  Stay !  You  and  your  murderous  associates 
may  fire  upon  me,  but  I  reserve  the  right  to  die  under  the 
colors  I  have  loved,  fought  for,  and  wish  to  embrace  in  my 
dying  moments.  (She  places  a  Cuban  flag  which  she  pro 
duces  from  her  bosom  upon  her  shoulders)  This  flag  has  been 
consecrated  by  the  blood  of  Cuban  patriots  !  Fire  upon  it, 
and  add  another  stain  to  the  credit  of  Spain !  Here  is 
another  emblem  (takes  out  American  flag,  places  it  over 
heart]  Fire  upon  this  if  you  dare  ! 

VALDEZ.  Am  I  to  be  baffled  by  a  weak  girl  and  her 
senseless  talk  ?  Up  with  your  guns  and  fire  upon  her. 
Why  do  you  hesitate  ? 

JASPER.  Captain,  I  for  one  will  not  shoot  down  a  woman 
in  cold  blood !  I  may  be  a  villain,  but  I  draw  the  line  at 
that,  and  I  absolutely  refuse  to  obey  any  such  order ! 

VALDEZ.  Am  I  awake  or  dreaming  ?  Jasper  refusing  to 
remove  a  human  being  for  our  own  safety  ?  What  does  it 
mean? 

JASPER.  It  means  that  no  matter  how  vile  or  utterly  lost 
a  man  may  be,  there  is  some  good  in  him  yet  remaining. 
I  have  a  sister  at  home,  and  I  would  kill  the  man  that  in- 


58  THE   CUBAN    SPY 

suited  or  threatened  her  life.    As  I  wish  my  sister  to  be 
treated,  so  will  I  treat  this  helpless  girl — spy  or  no  spy ! 

(Bugle  call  heard  in  distance.     ELINOR  A  screams.) 

'^ELINORA.    The  bugle  !     General  Gomez  is  at  hand.    My 
prayer  has  been  answered. 
VALDEZ.     I'll  give  the  signal ! 

(Music.  VALDEZ  rushes  to  window  as  PHELIM  and  CARL 
show  themselves  at  window  and  fire.  VALDEZ  staggers, 
tries  to  reach  ELINORA  to  shoot  her,  but  falls  dead  at  her 
feet.  PHELIM  and  CARL  come  through  window  and  at 
tempt  to  strike  down  JASPER,  but  ELINORA  protects  him. 
RICHARD  and  LOPEZ  enter,  D.  c.  Sword  combat.  LOPEZ 
disarmed  and  overpowered.  Guerrillas  driven  on  and  over 
powered  by  Cubans.  One  hands  flag  to  ELINORA,  which 
she  waves  in  triumph.  SOPHIE  and  BRIDGET  enter  L.  i  E. 
PHELIM  drops  on  his  knees  between  them,  begging  for 
mercy,  L.  c.  RICHARD  and  ELINORA,  c.) 

CURTAIN 


